Titus  :      "  Now,  madam,  are  you  prisoner  to  an  emperor 

Tnus  Anokonicus  Act  \  Scene  2 


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■COLLE 
LIBRA! 


THE  TRAGEDY  OF 
TITUS  ANDRONICUS. 

Preface. 


At, 


Early  Editions.  In  1600  a  quarto  edition  of  Titus  An- 
dronicus  was  published, bearing  the  following  title-page  : — 

"  The  most  lamenta-  |  ble  Romaine  Tragedie  of  Titus  \ 
Andronicus.  \  As  it  hath  sundry  times  been  playde  by  the 
I  Right  Honourable  the  Earle  of  Pembrooke,  the  |  Earl 
of  Darbie,  the  Earle  of  Sussex,  and  the  |  Lorde  Cham- 
berlaine  theyr  \  Seruants.  |  At  London,  |  Printed  by  I. 
R.  for  Edward  White  |  and  are  to  bee  solde  at  his  shoppe, 
at  the  little  |  North  doore  of  Paules,  at  the  signe  of  I  the 
Gun.  1600."  This  is  the  earliest  known  edition,  and  is 
referred  to  as  Quarto  i. 

Another  quarto,  printed  from  the  former,  was  brought 
out  in  161 1  : — 

"  The  I  most  lamcn-  !  table  Tragedie  |  of  Titus  An- 
dronicus. I  As  it  hath  sundry  \  times  beene  plaide  by  the 
Kings  IMaiesties  Seruants.  |  London,  |  Printed  for  Ed- 
ward White,  and  are  to  be  solde  j  at  his  shoppe,  nere  the 
little  Xorth  dore  of  |  Pauls,  at  the  signe  of  the  Gun. 
161 1." 

In  the  1st  Folio  Titus  Andronicus  comes  between  Co- 
riolanus  and  Romeo  and  Juliet:  the  text  was  somewhat 
carelessly  printed  from  a  copy  of  the  Second  Quarto  with 
IMS.  additions.  The  Second  Scene  of  the  Third  Act,  not 
found  in  the  quartos,  is  peculiar  to  the  Folio  version. 


Preface  THE  TRAGEDY  OF 

Date  of  Composition.  According  to  Langbaine,  in 
his  AccoiDit  of  tJie  English  Dramatic  Poets,  a  quarto  edi-, 
tion  of  Titus  Androniciis  was  printed  in  1594;  but  no 
copy  has  been  discovered.  The  earUest  allusion  to  Shake- 
speare's connection  with  the  subject  is  Meres'  mention  of 
the  play,  in  1598,  as  one  of  Shakespeare's  well-known 
tragedies.  There  can  be  little  doubt  that  Ravenscroft, 
who  "  about  the  time  of  the  Popish  Plot,"  revived  and 
altered  Titus  Andronictts,  preserved  a  trustworthy  tra- 
dition with  respect  to  its  authorship.  "  I  have  been  told 
by  some  anciently  conversant  with  the  stage,  that  it  was 
not  originally  Shakespeare's,  but  brought  by  a  private 
actor  to  be  acted,  and  he  only  gave  some  master-touches 
to  one  or  two  of  the  principal  characters."  Internal  evi- 
dence seems  to  corroborate  the  tradition,  and  Shake- 
speare's additions  are  now  generally  assigned  to  about 
1589-90.  The  following  passages  suggest  Shakespearian 
authorship; — L  i.  9;  IL  i.  82,  83;  I.  i.  70-76,  117-119, 
141,  142;  IL  ii.  1-6;  II.  iii.  10-15;  III.  i.  82-86,  91-97; 
IV.  iv.  81-86;   V.  ii.  21-27;   V.  iii.  160-168.* 

The  problem  is  complicated  by  the  fact  that  there  must 
have  been  at  least  three  plays  on  the  subject,  according  to 
the  references  in  the  Stationers'  Registers,  and  Henslowe's 
Diary.  Jonson  probably  referred  to  an  older  play  when 
he  wrote : — "  He  that  will  swear,  Jeronimo  or  Androni- 
cus  are  the  best  plays  yet,  shall  pass  unexcepted  at  here, 
as  a  man  whose  judgment  shows  it  is  constant,  and  hath 
stood  still  these  five-and-twenty  or  thirty  years  "  (Bar- 
tholomcz^.'  Fair,  1614).  This  would  place  the  production 
in  question  between  1584  and  1589. 

The  German  "  tragedy  of  Titus  Andronicus,"  acted 
abroad  about  the  year  1600  by  the  English  players,  may 
contain  elements  of  the  older  original  on  which  the  pres- 

*(C/'.  H.  B.  Wheadey,  New  Shakespeare  Soe.,  1874;  a  synopsis 
of  critical  opinion  is  to  be  found  in  Fleay's  Manual,  p.  44;  Knight, 
in  his  Pictorial  Shakespeare,  defends  Shakespeare's  authorship. 

The  fullest  recent  study  of  the  subject  is  that  of  Dr.  M.  M. 
Arnold  Schroer,  Marburg,  1891.) 


TITUS  ANDRONICUS  Preface 

ent  play  was  founded:  among  its  characters  there  is  a 
'''  Vespasian,"  and  it  is  noteworthy  that  there  is  a  record 
in  Henslowe's  diary  of  a  "  tittus  and  Vespasia  "  acted  "  by 
Lord  Strange's  men"  on  the  nth  of  April,  1591.  The 
play  is  marked  "  ne  "  {i.e.  ''  new  ").  Similarly,  a  "  Titus 
and  Andronicus  "  is  described  as  a  new  play  by  Henslowe 
under  the  date  of  January  22nd,  1593-4. 

Under  any  circumstances,  Titus  Andronicus  stands 
outside  the  regular  early  Shakespearian  dramas, — the 
gentle  "  love-plays  "  of  his  first  period ;  its  value,  how- 
ever, in  literary  history,  is  this : — crude  as  it  is,  it  cer- 
tainly belongs  to  the  same  type  of  play,  as  the  greater 
tragedy  of  Hamlet',  the  machinery  in  both  plays  is  much 
the  same ;  both  are  Kydian  dramas  of  Revenge ;  Nemesis 
triumphs  in  the  end,  entangling  in  her  meshes  the  inno- 
cent as  well  as  the  guilty,  the  perpetrators  of  crime  as  well 
as  the  agents  of  vengeance. 

Source  of  the  Plot.  It  is  remarkable  that  popular  as 
was  the  story  of  Titus  Andronicus  in  the  sixteenth  cen- 
tury, no  direct  source  of  the  play  has  yet  been  discovered, 
and  nothing  can  be  added  to  Theobald's  comment.  *'  The 
story,"  he  observes,  "  we  are  to  suppose  merely  fictitious. 
Andronicus  is  a  surname  o^  pure  Greek  derivation.  Ta- 
mora  is  neither  mentioned  by  Ammianus  Marcellinus,  nor 
anybody  else  that  I  can  find.  Nor  had  Rome,  in  the  time 
of  her  emperors,  any  war  with  the  Goths  that  I  know  of; 
not  till  after  the  translation  of  the  Empire,  I  mean  to 
Byzantium.  And  yet  the  scene  is  laid  at  Rome,  and  Sa- 
turninus  is  elected  to  the  empire  at  the  Capitol." 

The  ballad  given  in  Percy's  Reliques  was  evidently 
based  on  the  present  play,  though  formerly  considered  as 
its  source,"^ 

*  Cf.  Roxhurghc  Ballads  {Ballad  Society),  Vol.  I.;  the  version 
cannot,  according  to  Chappell,  be  earlier  than  the  reign  of  James 
I.,  and  is  more  probably  of  that  of  Charles  I,  The  title  of  the 
ballad  is  "  The  lamentable  and  tragical  history  of  Titus  Andro- 
nicus. With  the  fall  of  his  Sons  in  the  Wars  with  the  Goths,  with 
the  manner  of  the  Ravishment  of  his  daughter  Lavinia,"  etc. 

3 


Preface  THE  TRAGEDY  OF 

The  Time  of  the  Play.  The  period  covered  by  the 
play  is  four  days  represented  on  the  stage;  with,  pos- 
sibly, two  intervals. 

Day  I,  Act  I. ;  Act  II.  Sc.  i.  Day  2,  Act  II.  Sc.  ii.-iv. ; 
Act  III.  Sc.  i.  Interval.  Day  3,  Act  III.  Sc.  ii.  Inter- 
val. Day  4,  Acts  IV.  and  V.  {v.  P.  A.  Daniel's  Time- 
Analysis,  p.  190). 


TITUS  ANDRONICUS 


Critical  Comments. 
I. 

Argument. 

I.  Titus  Andronicus,  a  Roman  general,  returns  home 
in  triumph  after  a  conquest  of  the  Goths,  and  is  hailed 
by  a  large  part  of  the  people  as  their  next  emperor.  The 
inheritance  of  the  crown  is  just  then  in  controversy  be- 
tween the  deceased  ruler's  two  sons.  Titus  will  not  take 
advantage  of  the  dispute  and  his  own  popularity,  but 
magnanimously  sides  with  the  elder  son,  Saturninus, 
who  is  enabled  by  this  influence  to  ascend  the  throne. 
The  new  emperor  asks  Titus's  daughter  Lavinia  in  mar- 
riage, which  request  is  granted.  But  the  project  is 
thwarted  by  the  emperor's  younger  brother,  Bassianus, 
who  carries  off  Lavinia — to  whom  he  is  betrothed — by 
force.  Titus  is  so  enraged  at  this  and  so  earnest  in  his 
faith  with  Saturninus,  that  he  kills  one  of  his  own  sons 
who  has  aided  Bassianus.  Nevertheless,  the  emperor 
uses  this  as  a  pretext  for  slighting  Titus,  whose  power 
he  fears ;  and  although  he  makes  quick  choice  of  another 
wife  in  the  person  of  Tamora,  queen  of  the  Goths,  brought 
captive  by  Titus,  he  seeks  the  downfall  of  the  general. 
He  finds  a  ready  second  in  Tamora,  who  hates  Titus  be- 
cause he  has  offered  up  her  son  as  a  sacrifice  to  the  slain 
members  of  his  family. 

II.  Though  this  deadly  hatred  exists  on  the  part  of 
the  imperial  couple,  they  yet  veil  it  under  a  show  of  amity. 
The  deluded  Titus  seeks  to  do  them  honour  by  giving  a 
hunt,  which  ends  as  a  chapter  of  horrors.  The  empress 
seizes  the  opportunity  to  meet  her  lover,  a  cruel  and  crafty 
Moor  named  Aaron.     By  a  series  of  devilish  plots  he 


Comments  THE  TRAGEDY  OF 

incites  the  empress's  two  sons  to  ravish  Lavinia,  tear  out 
her  tongue,  and  cut  off  her  hands,  so  that  she  cannot 
denounce  them  either  in  speech  or  writing.  Bassianus  is 
slain,  and  the  Moor  directs  suspicion  against  two  sons  of 
Titus. 

III.  The  two  sons  are  sentenced  and  led  to  execution. 
Aaron  gives  Titus  to  understand  that  their  lives  w411  be 
spared  if  he  will  cut  off  his  hand  and  send  it  to  the  em- 
peror. Titus  complies,  but  is  mocked  by  the  iNIoor,  who 
returns  the  hand  with  the  heads  of  the  two  sons.  Hence- 
forth Titus  devotes  his  whole  life  to  vengeance. 

IV.  Pretending  madness  he  sends  strange  messages  to 
the  emperor,  and  also  to  Tamora's  sons,  whom  he  discov- 
ers to  be  the  authors  of  Lavinia's  shame. 

IMeantime  another  son  of  Titus,  named  Lucius,  being 
banished  from  Rome,  gathers  together  a  powerful  army 
of  Goths,  who  menace  the  city.  Tamora  finds  it  neces- 
sary to  hold  a  parley  with  him  at  his  father's  house. 

V.  To  arrange  the  interview,  she  goes  with  her  two 
sons,  disguised,  to  Titus's  house.  He  still  feigns  insanity 
and,  after  she  departs,  kills  the  sons  and  bakes  their  re- 
mains in  a  pie.  The  pie  is  shortly  after  offered  to  Ta- 
mora at  a  feast,  when  she  and  the  emperor  meet  Lucius 
in  parley.  It  is  a  fitting  dish  for  a  bloody  banquet,  since, 
at  the  general  slaughter  which  ensues,  Lavinia,  Tamora, 
Titus,  and  Saturninus  all  are  slain.  Lucius  tells  the  peo- 
ple the  true  story  of  the  persecutions  of  his  father's  house, 
and  is  proclaimed  emperor.  The  Moor  is  condemned  to 
a  lingering  death,  half -buried  in  the  sand. 

McSpaddex  :  Shakespearian  Synopses. 

II. 

Tamora. 

.  .  .  She  is  the  presiding  genius  of  the  piece :  and 
in  her  we  see,  as  we  believe,  the  outbreak  of  that  wonder- 
ful conception  of  the  union  of  powerful  intellect  and  moral 

6 


TITUS  ANDRONICUS  Comments 

depravity  which  Shakspere  was  afterwards  to  make  mani- 
fest with  such  consummate  wisdom.  Strong  passions, 
ready  wit,  perfect  self-possession,  and  a  sort  of  oriental 
imagination,  take  Tamora  out  of  the  class  of  ordinary 
women.  It  is  in  her  mouth  that  we  find,  for  the  most 
part,  what  readers  of  Malone's  school  would  call  the 
poetical  language  of  the  play.  W^e  will  select  specimens 
(II.  iii.)  :— 

"  The  birds  chant  melody  on  every  bush; 
The  snake  lies  rolled  in  the  cheerful  sun ; 
The  green  leaves  quiver  with  the  cooling  wind, 
And  make  a  chequer'd  shadow  on  the  ground : 
Under  their  sweet  shade,  Aaron,  let  us  sit. 
And — whilst  the  babbling  echo  mocks  the  hounds 
Replying  shrilly  to  the  well-tun'd  horns, 
As  if  a  double  hunt  were  heard  at  once, — 
Let  us  sit  down." 

Again,  in  the  same  scene : — 

"  A  barren  detested  vale,  you  see,  it  is : 
The  trees,  though  summer,  yet  forlorn  and  lean, 
O'ercome  with  moss  and  baleful  misseltoe. 
Here  never  shines  the  sun ;  here  nothing  breeds, 
Unless  the  nightly  owl,  or  fatal  raven. 
And,  when  they  show'd  me  this  abhorred  pit, 
They  told  me,  here,  at  dead  time  of  the  night, 
A  thousand  fiends,  a  thousand  hissing  snakes. 
Ten  thousand  swelling  toads,  as  many  urchins, 
Would  make  such  fearful  and  confused  cries. 
As  any  mortal  body,  hearing  it. 
Should  straight  fall  mad,  or  else  die  suddenly '' 

.  .  .  The  lines  which  we  have  quoted  may  not  be 
amongst  Shakspere 's  highest  things ;  but  they  could  not 
have  been  produced  except  under  the  excitement  of  the 
full  swing  of  his  dramatic  power — bright  touches  dashed 
in  at  the  very  hour  when  the  whole  design  was  growing 
into  shape  upon  the  canvas,  and  the  form  of  Tamora  was 
becoming  alive  with  colour  and  expression.     To  imagine 

7 


Comments  THE  TRAGEDY  OF 

that  the  great  passages  of  a  drama  are  produced  Hke  "  a 
copy  of  verses,"  under  any  other  influence  than  the  large 
and  general  inspiration  which  creates  the  whole  drama,  is, 
we  believe,  utterly  to  mistake  the  essential  nature  of  dra- 
matic poetry.  It  would  be  equally  just  to  say  that  the 
nice  but  well-defined  traits  of  character,  which  stand  out 
from  the  physical  horrors  of  this  play,  when  it  is  carefully 
studied,  were  superadded  by  Shakspere  to  the  coarser  de- 
lineations of  some  other  man. 

Knigpit  :  Pictorial  Shakspere. 

III. 

Aaron. 

Aaron,  the  ^loor,  is  a  declared  blackamoor,  to  whom  a 
Hebrew  name  seems  to  have  been  given  to  facilitate  the 
adhesion  of  hatefulness  to  his  proceedings.  I  cannot  con- 
sider his  character  in  detached  trait  without  an  odd  in- 
termingling of  reminiscences  of  Shylock  and  Othello. 
Aaron  revels  in  cruelty  and  wickedness  with  a  delight  that 
reminds  of  Shylock  gloating  over  his  promised  pound  of 
flesh,  but  with  more  gratuitous  viciousness,  for  he  has  not 
Shylock's  provocation — unless,  indeed,  we  detect  such  a 
feeling  of  general  resentment  against  nature  for  his  black- 
ness, as  Richard  expresses  for  his  deformity — akin  both 
to  Shylock's  sense  of  being  an  object  of  antipathy  to  Ven- 
ice at  large,  for  no  better  reason  than  his  Judaism.  The 
avaricious  Jew  who  could  still  think  the  best  worth  of  a 
jewel  lay  in  his  having  ''  had  it  of  Leah  when  he  was  a 
bachelor,"  is  the  invention  of  a  poet  who  may  have  owned 
to  the  idea  of  the  cruel,  coarse,  reviling  Aaron,  still  retain- 
ing affection  for  his  base  offspring.  He  not  only  protects 
his  child  by  Tamora  from  her  indignant  sons,  but,  when 
he  is  the  caotive  of  Lucius,  is  prepared  to  undergo  any 
sufferinp-s  rather  than  forep-o  his  chance  of  preserving  his 
life,  and  that  boon  granted  he  gives  loose  to  his  tongue 
and,  as  if  death  under  anv  tortures  were  indifferent  to 


TITUS  ANDRONICUS  Comments 

him,  declares  and  boasts  of  his  atrocities  in  terms  the  most 
exciting  and  exasperating.  lago's  dogged  resolution  to 
speak  no  more  "  seems  contrasted  with  this ;  but  lago, 
it  will  be  recollected,  made  some  avowals  when  he  was 
first  apprehended,  that  indicate  pleasure  m  public  scorn  ot 
his  victims.  Still  there  is  a  certain  devilish  glee  in 
Aaron's  crime  that  distinguishes  it  from  that  of  all  other 
villains  of  Shakespeare;  he  gloats  over  the  enjoyment 
and  resorts  to  it  with  the  propensity  of  an  indulgence  not 
under  the  sting  of  fury  or  bitterness.  "  Inhuman  dog 
is  a  term  assigned  both  to  lago  and  Aaron. 

Lloyd:  Cntical  Essays  on  the  Plays  of  Shakespeare. 

IV. 

The  Element  of  Horror. 

Shakspere  is  the  tragedy  cf  Terror;  this  is  the  tragedy 
-  of  Horror  .     It  reeks  blood,  it  smeUs  of  blood ; 

we  almost  feel  that  we  have  handled  blood— it  is  so  gross. 
The  mental  stain  is  not  whitened  by  Shakspere  s  sweet 
springs  of  pitv  ;  the  horror  is  not  hallowed  by  that  appal- 
hno-  sublimitv  with  which  he  invested  his  chosen  ministers 
of  "death.     It  is  tragedy  only  in  the  coarsest  material  -e- 

lationships.  r   .     ,,     .    7 

Massey;  Shakspere  s  Sonnets  never  before  Interpreted. 

The  play  bears  a  close  resemblance  to  the  best  speci- 
mens of  dramatic  production  known  on  the  English  stage 
at  the  time  we  suppose  it  to  have  been  written  ;  and  it 
resembles  them  in  their  best  qualities.  T^Iarlowe  whose 
Tamhurlaine  was  acted  before  1587,  had  just  unfettered 
the  English  drama  from  the  shackles  of  rhyme  and 
touched  its  versification  with  the  first  beginnings  of  free- 
dom and  varietv.  As  if  to  square  the  account  for  this 
advance  upon  the  dramatic  taste  and  culture  ot  the  time, 
he  trained  his   verse  to   a   stately   and   high-resoundmg 

9 


Comments  THE  TRAGEDY  OF 

march,  and  often  made  it  puff  well-nigh  to  the  cracking 
of  its  cheeks  with  rhetorical  grandiloquence  and  smoke. 
The  theatrical  audiences  then  to  be  had  would  hardly  be- 
stow much  applause  on  any  tragedies  but  what  gave  them 
to  "  sup  full  of  horrors  " ;  and  Marlowe  was  apt  enough, 
without  the  stimulus  of  any  such  motives,  to  provide  them 
banquets  of  that  sort.  To  distinguish  rightly  between 
the  broad  and  vulgar  ways  of  the  horrible,  and  the  high 
and  subtle  courses  of  tragic  terror,  was  a  point  of  art 
which  he  did  not  live  to  reach,  and  probably  could  not  have 
reached  if  he  had  lived.  To  discover  these  hidden  courses 
required  the  far  clearer  and  keener  vision  of  Shakespeare ; 
nor  does  it  stand  to  reason  that  even  he  or  any  other  man 
could  have  discovered  them,  without  first  practising  in  the 
ways  already  opened  and  approved.  Of  course,  as  ex- 
perience gradually  developed  his  native  strengths,  and  at 
the  same  time  taught  him  what  they  were  sufficient  for, 
he  would  naturally  throw  aside,  one  after  another,  the 
strengths  of  custom,  of  example,  and  public  taste ;  since 
these  would  grow  to  be  felt  as  incumbrances,  as  he  grew 
able  to  do  better  without  them. 

Hudson  :  The  Works  of  Shakespeare. 


A  good  and  noble  character  (like  Titus)  breaks  through 
the  most  indispensable,  the  most  sacred  ties  of  nature, 
owing  to  a  want  of  clearness  of  moral  consciousness,  of 
power,  and  self-control,  and  tramples  upon  all  parental 
feelings.  It  is  this  deed,  which  is  spun  out  into  the  fear- 
ful tissue  of  the  following  scenes  of  horror,  that  first 
awakens  the  fiend  in  Tamora's  nature,  and  the  brute  in 
Aaron.  When  evil  is  challenged  by  the  good  itself,  it 
not  only  annihilates  itself,  but  the  good  as  well,  which,  of 
course,  is  then  no  longer  truly  good.  It  is  from  this  point 
of  view  that  the  whole  drama  is  composed ;  it  forms  the 
organic  centre  in  which  all  the  separate  rays  converge. 
But  the  horrible,  when  so  accumulated,  and  made  such  an 
ordinary,  natural  element  of  life,  requires  a  deeper  and 


lO 


TITUS  ANDRONICUS  Comments 

more  accurate  foundation.  It  is  not  sufficient  simply  to 
presuppose  a  general  state  of  decay,  because  the  horrible 
is  not  necessarily  the  general  form  of  the  tragic,  even  in 
such  a  state  of  things.  However  even  this  fault  is  one 
that  could  be  tolerated,  at  least,  it  is  not  wholly  wanting 
in  motive.  The  principal  and  actual  defect  is,  in  reality, 
the  total  absence  of  the  conciliatory  element  in  the  tragic 
pathos.  Titus  Andronicus  dies  without  having  even  once 
come  to  the  consciousness  and  conviction  of  his  guilt,  to 
the  duty  of  submitting  to  the  will  of  the  gods,  in  short, 
without  that  which  is  good  and  beautiful  in  him  having 
been  purified  and  sublimated  by  the  tragic  pathos.  It  is 
the  same  with  his  younger  sons  ;  nay,  even  Lavinia,  whose 
character  is  intended  to  be  one  of  noble  womanliness,  can, 
with  cold  indifference,  hold  the  basin  which  is  to  catch 
the  blood  of  the  two  victims,  and  is  herself  killed  by  the 
dagger  of  her  own  father  while  assisting  at  the  horrible 
repast.  Aaron,  Tamora,  and  Saturnine  die  as  they  have 
lived,  and  Lucius  marks  his  elevation  to  the  dignity  of 
governor  with  the  command  for  the  inhuman  and  revolt- 
ing execution  of  the  I\Ioor.  Thus  the  drama  ends  in  a 
shrill  discord  wdiich  is  but  little  relieved  by  the  abrupt  and 
cold  declaration  of  the  new  ruler  : — 

"  Then  afterwards  to  order  well  the  state 
That  like  events  may  ne'er  it  ruinate." 

Ulrici  :  Shakspeare's  Dramatic  Art. 
V. 
Style  and  Authorship. 

Precocity  is  the  characteristic  sign  of  genius,  and,  as  is 
well  known,  almost  every  poet  has  made  his  first  poetic 
flight  while  his  physical  nature  was  still  in  a  state  of  de- 
velopment. This  must  have  been  the  case  with  Shake- 
speare's contemporaries,  Marlowe  and  Ben  Jonson,  for 
they  both  published  works  of  importance  before  they  came 
of  age.     Walter  Scott  at  the  age  of  between  fourteen  and 

II 


Comments  THE  TRAGEDY  OF 

fifteen  made  his  first  venture  in  epic  poems  of  considerable 
length,  and  Byron  in  his  thirteenth  year  even  attempted  to 
write  a  drama.  Chatterton,  Keats,  and  Shelley  are  fa- 
mous instances  of  early  poetical  precocity ;  and  in  the 
domain  of  painting  and  music  are  almost  surpassed  by 
Raphael,  Handel,  Mozart,  and  Mendelssohn.  Is  Shake- 
speare alone  to  be  made  an  exception  to  the  rule?  The 
fact  of  his  early  marriage  is  almost  sufficient  to  convince 
us  of  the  contrary.  Besides,  all  his  outward  circum- 
stances and  the  influence  of  his  home,  as  well  as  the 
poetical,  sensuously  gay,  popular  life  amidst  which  he  was 
brought  up,  must  have  encouraged  the  early  development 
of  his  mind.  What  an  important  influence  theatrical  rep- 
resentations must  have  exercised  upon  him  we  may  see  in 
the  case  of  young  persons  in  our  own  day.  Even  chil- 
dren who  possess  a  mere  minimum  of  poetical  fancy  take 
delight  in  a  puppet  show  for  which  they  have  themselves 
arranged  a  play.  Looked  at  from  this  point  of  view,  it 
would  be  unreasonable  forthwith  to  reject  as  absurd  the 
supposition  that  Titus  Androniciis  was  written  before 
Shakespeare  had  left  Stratford. 

Elze:   Williaiii  Shakespeare, 


As  I  re-read  this  play  after  coming  straight  from  the 
study  of  Marlowe,  I  find  again  and  again  passages  that, 
as  it  seems  to  me,  no  hand  but  his  could  have  written.  It 
is  not  easy  in  a  question  of  this  kind  to  set  down  in  detail 
reasons  for  our  belief.  IMarlowe's  influence  permeated 
so  thoroughly  the  dramatic  literature  of  his  day,  that  it  is 
hard  sometimes  to  distinguish  between  master  and  pupil. 
When  the  master  is  writing  at  his  best  there  is  no  diffi- 
culty, but  when  his  work  is  hasty  and  ill-digested,  or  has 
been  left  incomplete  and  has  received  additions  from  other 
hands,  then  our  perplexity  is  great.  In  our  disgust  at  the 
brutal  horrors  that  crowd  the  pages  of  Titus  Androniciis, 
we  must  beware  of  blinding  ourselves  to  the  imaginative 
power  that  marks  much  of  the  writing. 

BuLLEN  :  Works  of  Christopher  Marlowe, 


TITUS  ANDRONICUS  Comments 

It  was  no  invention  of  Shakespeare's ;  it  is  not  recon- 
structed upon  Shakespeare's  Hnes  ;  but,  as  we  see,  char- 
acters were  renamed,  some  of  the  matter  was  recast, 
crudities  were  struck  out^here  and  there  the  writing  was 
touched  over,  and  some  fresh  Hnes  were  inserted.  We 
find  hnes  in  which  we  feel  young  Shakespeare's  touch,  and 
while  the  whole  construction  of  the  play  that  Shakespeare 
worked  upon  is  thoroughly  unlike  the  inventions  of 
Shakespeare  himself,  its  crude  horrors  are,  no  doubt,  felt 
the  more  intensely  for  his  removal  of  absurdities  in  the 
first  way  of  telling  them,  and  for  touches  of  his  that  gave 
more  pomp  of  words  and  more  force  to  the  style,  with  now 
and  then  some  small  hint  of  a  grace  beyond  the  reach  of 
the  inventor  and  first  writer  of  the  play. 

Morley:  English  Writers. 


The  young  poet,  born  in  an  age  and  country  having  a 
cultivated  poetic  literature,  good  or  bad,  must,  until  he  has 
formed  his  own  ear  by  practice,  and  thus  too  by  practice 
made  his  language  take  the  impress  and  colour  of  his  own 
mind,  echo  and  repeat  the  tune  of  his  instructors.  This 
may  be  observed  in  Shakespeare's  earlier  comedies :  and 
to  my  ear  many  lines  and  passages  of  Androniciis — such 
as  the  speech  of  Tamora  in  Act  II.  Scene  iii.,  "  The  birds 
chant  melody  on  every  bush,"  etc.,  etc.,  and  in  this  same 
Scene  the  lines  in  the  mouth  of  the  same  personage,  "  A 
barren  detested  vale,  you  see  it  is,"  recall  the  rhythm  and 
taste  of  much  of  the  poetry  of  the  Tu^o  Gentlemen  of  Ve- 
rona. The  matchless  freedom  of  dramatic  dialogue  and 
emotion,  and  of  lyrical  movement — the  grand  organ  swell 
of  contemplative  harmony,  were  all  to  be  afterwards  ac- 
quired by  repeated  trial  and  continued  practice.  The  ver- 
sification and  melody  of  Titus  Androniens  are  nearer  to 
those  of  Shakespeare's  two  or  three  earlier  comedies  than 
those  are  to  the  solemn  harmony  of  Prospero's  majestic 
morality.  .  .  .  Air.  Hallam  has  said  of  the  undis- 
puted Roman  tragedies,  that  "  it  is  manifest  that  in  these 

13 


Comments  THE  TRAGEDY  OF 

Roman  character  and  still  more  Roman  manners  are  not 
exhibited  with  the  precision  of  the  scholar  " — a  criticism 
from  which  few  scholars  will  dissent  as  to  the  manners, 
though  few  will  agree  with  it  as  to  "  Roman  character/' 
But  if  this  be  true  in  any  extent  of  the  historical  dramas 
composed  in  the  fulness  of  the  poet's  knowledge  and  talent 
we  shall  find  the  same  sort  of  defects  in  Titus  Androniciis, 
and  carried  to  a  greater  excess.  The  story  is  put  together 
without  any  historical  basis,  or  any  congruity  with  any 
period  of  Roman  history.  The  Tribune  of  the  people  is 
represented  as  an  efficient  popular  magistrate,  while  there 
is  an  elective  yet  despotic  emperor.  The  personages  are 
Pagans,  appealing  to  "  Apollo,  Pallas,  Juno,  or  Mercury,  ' 
while  at  the  beginning  of  the  play  we  find  a  wedding 
according  to  the  Catholic  ritual,  with  "  priest  and  holy 
water,"  and  tapers  "  burning  bright  "  ;  and  at  the  end  an 
allusion  to  a  Christian  funeral,  with  "  burial  and  mournful 
weeds  and  mournful  bell  *' ;  to  say  nothing  of  Aaron's 
sneer  at  '*  Popish  ceremonies,"  or  of  the  "  ruined  monas- 
tery "  in  the  plain  near  Rome. 

For  all  these  reasons,  I  am  so  far  from  rejecting  this 
play  as  spurious,  that  I  regard  it  as  a  valuable  and  cu- 
rious evidence  of  the  history  of  its  author's  intellectual 
progress. 

Verplaxck  :  The  Illustrated  Shakespeare. 


To  me,  as  to  Hallam  and  many  others,  the  play  declares 
as  plainly  as  play  can  speak,  "  I  am  not  Shakspere's ;  my 
repulsive  subject,  my  blood  and  horrors,  are  not  and  never 
were,  his."  I  accept  the  tradition  that  Ravenscroft  re- 
ports when  he  revived  and  altered  the  play  in  1687,  ^^^^ 
it  was  brought  to  Shakspere  to  be  touched  up  and  pre- 
pared for  the  stage. 

FuRXivALL  :  The  Leopold  Shakspere. 


This  is  the  period  of   Shakspere's  tentative  dramatic 
efforts.     Among  these,  notwithstanding  strong  external 

14 


TITUS  ANDRONICUS  Comments 

evidence — the  testimony  of  Meres,  and  the  fact  that 
Heminge  and  Condell  included  the  play  in  the  first  folio — 
it  is  difficult  to  admit  Titus  Androniciis.  That  tragedy 
belongs  to  the  pre-Shaksperian  school  of  bloody  dramas. 
If  any  portions  of  it  be  from  Shakspere's  hand,  it  has  at 
least  this  interest — it  shows  that  there  was  a  period  of 
Shakspere's  authorship  when  the  Poet  had  not  yet  dis- 
covered himself,  a  period  when  he  yielded  to  the  popular 
influences  of  the  day  and  hour ;  this  much  interest,  and 
no  more.  That  Shakspere  himself  entered  with  passion 
or  energy  into  the  literary  movement  which  the  Spanish 
Tragedy  of  Kyd  may  be  taken  to  represent,  his  other  early 
writings  forbid  us  to  believe.  The  supposed  Sturm  und 
Drang  period  of  Shakspere's  artistic  career  exists  only  in 
the  imagination  of  his  German  critics.  The  early  years  of 
Shakspere's  authorship  were  years  of  bright  and  tender 
play  of  fancy  and  of  feeling.  If  an  epoch  of  storm  and 
stress  at  any  time  arrived,  it  was  when  Shakspere's  genius 
had  reached  its  full  maturity,  and  Lear  was  the  product 
of  that  epoch.  But  then,  if  the  storm  and  stress  were 
prolonged  and  urgent,  Shakspere  possessed  sufficient 
power  of  endurance,  and  had  obtained  sufficient  grasp  of 
the  strong  sure  roots  of  life,  to  save  him  from  being  borne 
away  into  the  chaos  or  in  any  direction  across  the  borders 
of  the  ordered  realm  of  art.  Upon  the  whole,  Titus  An- 
dronicns  may  be  disregarded.  Even  if  it  were  a  work  of 
Shakspere,  we  should  still  call  it  un-Shaksperian. 

DowDEN :  Shakspere. 


i5 


DRAMATIS  PERSONAE. 

Saturninus,  son  to  the  late  Emperor  of  Rome,  afterwards  em- 
peror. 
Basstanus,  brother  to  Saturnmus. 
Titus  Andronicus,  a  noble  Roman. 

Marcus  Andronicus,  tribune  of  the  people,  and  brother  to  Titus. 
Lucius,     "^ 

QUINTUS,     I  ^      ^u  A     J 

,,  >  sons  to  Titus  Andronicus. 

Martius, 

MuTius, 

Young  Lucius,  a  boy,  son  to  Lucius. 

PuBLius,  son  to  Marcus  Andronicus. 

^MiLius,  a  noble  Roman. 

Alarbus,       ) 

Demetrius,   >  sons  to  Tamora. 

Chiron,         ) 

Aaron,  a  Moor,  beloved  by  Tamora. 

A  Captain,  Tribune,  Messenger,  and  Clown ;  Romans  and  Goths. 

Tamora,  queen  of  the  Goths. 

Lavinia.  daughter  to  Titus  Andronicus. 

A  Nurse,  and  a  black  Child. 

Kinsmen  of  Titus,  Senators,  Tribunes,  Officers,  Soldiers, 
and  Attendants. 

Scene:     Rome,  and  the  country  near  it. 


The  Tragedy  of 

TITUS  ANDRONICUS. 

ACT  FIRST. 

Scene  I. 

Rome.     Before  the  Capitol.     The  Tomb  of 
the  Andronici  appearing. 

Flourish.  Enter  the  Tribunes  and  Senators  aloft.  And 
then  enter  belozc,  Satnrninus  and  his  Followers  from 
one  side,  and  Bassianus  and  his  Follozvers  from  the 
other  side,  zvith  drum  and  colours. 

Sat.  Noble  patricians,  patrons  of  my  right, 

Defend  the  justice  of  my  cause  with  arms; 
And,  countrymen,  my  loving  followers, 
Plead  my  successive  title  with  your  swords : 
I  am  his  first-born  son,  that  was  the  last 
That  ware  the  imperial  diadem  ofl^-ome; 
Then  let  my  father's  honours  live  in  me. 
Nor  wrong  mine  age  with  this  indignity. 

Bas.  Romans,  friends,  followers,  favourers  of  my  right, 
If  ever  Bassianus,  Caesar's  son,  lo 

Were  gracious  in  the  eyes  of  royal  Rome, 
Keep  then  this  passage  to  the  Capitol ; 
And  suffer  not  dishonour  to  approach 
The  imperial  seat,  to  virtue  consecrate, 
To  justice,  continence  and  nobility: 
But  let  desert  in  pure  election  shine ; 
And,  Romans,  fight  for  freedom  in  your  choice. 

17 


Act  I.  Sc.  i.  THE  TRAGEDY  OF 

Enter  Marcus  Andronicus,  aloft,  zvith  the  crown. 

'Marc.  Princes,  that  strive  by  factions  and  by  friends 
Ambitiously  for  rule  and  empery, 
Know    that    the    people    of    Rome,    for    whom    we 

stand 
A  special  party,  have  by  common  voice,  21 

In  election  for  the  Roman  empery, 
Chosen  Andronicus,  surnamed  Pius 
For  many  good  and  great  deserts  to  Rome : 
A  nobler  man,  a  braver  warrior, 
Lives  not  this  day  within  the  city  walls : 
He  by  the  senate  is  accited  home 
From  weary  wars  against  the  barbarous  Goths ; 
That,  with  his  sons,  a  terror  to  our  foes, 
Hath  yoked  a  nation  strong,  train'd  up  in  arms.        30 
Ten  years  are  spent  since  first  he  undertook 
This  cause  of  Rome,  and  chastised  with  arms 
Our  enemies'  pride :  five  times  he  hath  return'd 
Bleeding  to  Rome,  bearing  his  valiant  sons 
In  coffins  from  the  field. 
And  now  at  last,  laden  with  honour's  spoils, 
Returns  the  good  Andronicus  to  Rome, 
Renowned  Titus,  flourishing  in  arms. 
Let  us  entreat,  by  honour  of  his  name. 
Whom  worthily  you  w^ould  have  now  succeed,        40 
And  in  the  Capitol  and  senate's  right, 
Whom  you  pretend  to  honour  and  adore, 
That  you  w^ithdraw  you  and  abate  your  strength. 
Dismiss  your  followers  and,  as  suitors  should, 
Plead  your  deserts  in  peace  and  humbleness. 

Sat.  How  fair  the  tribune  speaks  to  calm  my  thoughts ! 

18 


TITUS  ANDRONICUS  Act  I.  Sc.  i. 

Bas.  Marcus  Andronicus,  so  I  do  affy 
In  thy  uprightness  and  integrity, 
And  so  I  love  and  honour  thee  and  thine, 
Thy  noble  brother  Titus  and  his  sons,  50 

And  her  to  whom  my  thoughts  are  humbled  all, 
Gracious  Lavinia,  Rome's  rich  ornament. 
That  I  will  here  dismiss  my  loving  friends, 
And  to  my  fortunes  and  the  people's  favour 
Commit  my  cause  in  balance  to  be  weigh'd. 

[Exeunt  the  FoUoivcrs  of  Bassianns. 

Sat.   Friends,  that  have  been  thus  forward  in  my  right, 
I  thank  you  all,  and  here  dismiss  you  all. 
And  to  the  love  and  favour  of  my  country 
Commit  myself,  my  person  and  the  cause. 

[E.vciint  the  FoUozvers  of  Saturninns. 
Rome,  be  as  just  and  gracious  unto  me,  60 

As  I  am  confident  and  kind  to  thee. 
Open  the  gates,  and  let  me  in. 

Bas,  Tribunes,  and  me,  a  poor  competitor. 

[Flourish.     Saturninns  and  Bassianns  go  up 

1)1  to  the  Capitol. 

Enter  a  Captain. 

Cap.  Romans,  make  way :   the  good  Andronicus, 
Patron  of  virtue,  Rome's  best  champion, 
Successful  in  the  battles  that  he  fights. 
With  honour  and  with  fortune  is  return'd 
From  where  he  circumscribed  with  his  sword. 
And  brought  to  yoke,  the  enemies  of  Rome. 

Drums  and  trumpets  sounded.  Enter  Martins  and  Mu- 
tius;  after  them,  tzvo  Men  bearing  a  coffin  covered 
zvith  black;   then  Lucius  and  Quintus.     After  them, 

19 


Act  I.  Sc.  i.  THE  TRAGEDY  OF 

Titus  Andronicus ;  and  then  Tanwra  Queen  of  Goths, 
with  Alarbus,  Demetrius,  Chiron,  Aaron,  and  other 
Goths,  prisoners:  Soldiers  and  People  foUoz^'ing. 
The  Bearers  set  doivn  the  eofRn,  and  Titus  speaks. 

Tit.   Hail,  Rome,  victorious  in  thy  mourning  weeds  !        70 
Lo,  as  the  bark  that  hath  discharged  her  fraught 
Returns  with  precious  lading  to  the  bay 
From  whence  at  first  she  weigh'd  her  anchorage, 
Cometh  Andronicus,  bound  with  laurel  boughs. 
To  re-salute  his  country  with  his  tears, 
Tears  of  true  joy  for  his  return  to  Rome. 
Thou  great  defender  of  this  Capitol, 
Stand  gracious  to  the  rites  that  we  intend ! ' 
Romans,  of  five  and  twenty  valiant  sons. 
Half  of  the  number  that  King  Priam  had,  80 

Behold  the  poor  remains,  alive  and  dead ! 
These  that  survive  let  Rome  reward  with  love ; 
These  that  I  bring  unto  their  latest  home, 
With  burial  amongst  their  ancestors : 
Here    Goths   have   given    me   leave   to    sheathe    my 

sword. 
Titus,  unkind,  and  careless  of  thine  own. 
Why  suffer'st  thou  thy  sons,  unburied  yet, 
To  hover  on  the  dreadful  shore  of  Styx  ? 
Make  way  to  lay  them  by  their  brethren. 

[They  open  the  tomb. 
There  greet  in  silence,  as  the  dead  are  wont,  90 

And  sleep  in  peace,  slain  in  your  country's  wars ! 
O  sacred  receptacle  of  my  joys. 
Sweet  cell  of  virtue  and  nobility, 
How  many  sons  hast  thou  of  mine  in  store. 
That  thou  wilt  never  render  to  me  more ! 
20 


TITUS  ANDRONICUS  Act  I.  Sc.  i. 

Liic.  Give  us  the  proudest  prisoner  of  the  Goths, 
That  we  may  hew  his  Hmbs  and  on  a  pile 
'  Ad  manes  fratrum  '  sacrifice  his  flesh 
Before  this  earthy  prison  of  their  bones, 
That  so  the  shadows  be  not  unappeased,  loo 

Nor  we  disturb'd  with  prodigies  on  earth. 
Tit.  I  give  him  you,  the  noblest  that  survives, 

The  eldest  son  of  this  distressed  queen. 
Tarn.  Stay,  Roman  brethren!     Gracious  conqueror, 
Victorious  Titus,  rue  the  tears  I  shed, 
A  mother's  tears  in  passion  for  her  son : 
And  if  thy  sons  were  ever  dear  to  thee, 
O,  think  my  son  to  be  as  dear  to  me ! 
Sufficeth  not,  that  we  are  brought  to  Rome, 
To  beautify  thy  triumphs  and  return,  no 

Captive  to  thee  and  to  thy  Roman  yoke ; 
But  must  my  sons  be  slaughter'd  in  the  streets, 
For  valiant  doings  in  their  country's  cause? 
O,  if  to  fight  for  king  and  commonweal 
Were  piety  in  thine,  it  is  in  these. 
Andronicus,  stain  not  thy  tomb  with  blood. 
Wilt  thou  draw  near  the  nature  of  the  gods  ? 
Draw  near  them  then  in  being  merciful : 
Sweet  mercy  is  nobility's  true  badge : 
Thrice-noble  Titus,  spare  my  first-born  son.  120 

Tit.  Patient  yourself,  madam,  and  pardon  me. 

These  are  their  brethren,  whom  you  Goths  beheld 
Alive  and  dead ;  and  for  their  brethren  slain 
Religiously  they  ask  a  sacrifice : 
To  this  your  son  is  mark'd,  and  die  he  must, 
To  appease  their  groaning  shadows  that  are  gone. 
Liic.  Away  with  him  !   and  make  a  fire  straight ; 

21 


Act  I.  Sc.  i.  THE  TRAGEDY  OF 

And  with  our  swords,  upon  a  pile  of  wood, 

Let 's  hew  his  hmbs  till  they  be  clean  consumed. 

[Exeunt  the  sons  of  Andr onions  with  Alarhus. 

Tani.  O  cruel,  irreligious  piety !  130 

Chi.  Was  ever  Scythia  half  so  barbarous? 

Dcni.  Oppose  not  Scythia  to  ambitious  Rome. 
Alarbus  goes  to  rest,  and  we  survive 
To  tremble  under  Titus'  threatening  look. 
Then,  madam,  stand  resolved  ;  but  hope  withal, 
The  self-same  gods  that  arm'd  the  Queen  of  Troy 
With  opportunity  of  sharp  revenge 
Upon  the  Thracian  tyrant  in  his  tent, 
]\lay  favour  Tamora,  the  queen  of  Goths, 
When  Goths  were  Goths  and  Tamora  was  queen, 
To  quit  the  bloody  wrongs  upon  her  foes.  141 

Re-enter  the  sons  of  Androniciis,  ivith  their  szvords  bloody. 

Luc.  See,  lord  and  father,  how  we  have  perform'd 
Our  Roman  rites  :  Alarbus'  limbs  are  lopp'd, 
And  entrails  feed  the  sacrificing  fire. 
Whose  smoke,  like  incense,  doth  perfume  the  sky. 
Remaineth  nought  but  to  inter  our  brethren, 
And  with  loud  'larums  welcome  them  to  Rome. 

Tit.  Let  it  be  so  ;  and  let  Andronicus 

Make  this  his  latest  farewell  to  their  souls. 

[Trumpets  sounded,  and  the  co-ffin  laid  in  the  tomb. 
In  peace  and  honour  rest  you  here,  my  sons  :  1 50 

Rome's    readiest    champions,    repose    you    here    in 

rest, 
Secure  from  worldly  chances  and  mishaps ! 
Here  lurks  no  treason,  here  no  envy  swells, 
Here  grow  no  damned  drugs  ;  here  are  no  storms, 
22 


TITUS  ANDRONICUS  Act  I.  Sc.  i. 

No  noise,  but  silence  and  eternal  sleep : 

In  peace  and  honour  rest  you  here,  my  sons ! 

Enter  Lavinia. 

Lav.  In  peace  and  honour  live  Lord  Titus  long ; 
IMy  noble  lord  and  father,  live  in  fame ! 
Lo,  at  this  tomb  my  tributary  tears 
I  render,  for  my  brethren's  obsequies  ;  i6o 

And  at  thy  feet  I  kneel,  with  tears  of  joy 
Shed  on  the  earth,  for  thy  return  to  Rome : 
O,  bless  me  here  with  thy  victorious  hand, 
Wliose  fortunes  Rome's  best  citizens  applaud ! 

Tit.  Kind  Rome,  that  hast  thus  lovingly  reserved 
The  cordial  of  mine  age  to  glad  my  heart ! 
Lavinia,  live ;   outlive  thy  father's  days. 
And  fame's  eternal  date,  for  virtue's  praise ! 

Enter,  belo7u,  Marcus  Andronicns  and  Tribunes ; 
re-enter  Saturninus  and  Bassianus  attended. 

Marc.  Long  live  Lord  Titus,  my  beloved  brother, 

Gracious  triumpher  in  the  eyes  of  Rome!  170 

Tit.  Thanks,  gentle  tribune,  noble  brother  ^Marcus. 

Marc.  And  welcome,  nephews,  from  successful  wars. 
You  that  survive,  and  you  that  sleep  in  fame ! 
Fair  lords,  your  fortunes  are  alike  in  all. 
That  in  your  country's  service  drew  your  swords : 
But  safer  triumph  is  this  funeral  pomp. 
That  hath  aspired  to  Solon's  happiness, 
And  triumphs  over  chance  in  honour's  bed. 
Titus  Andronicus,  the  people  of  Rome, 
Whose  friend  in  justice  thou  hast  ever  been,  180 

Send  thee  by  me,  their  tribune  and  their  trust, 

23 


Act  I.  Sc.  i.  THE  TRAGEDY  OF 

This  palliament  of  white  and  spotless  hue ; 
And  name  thee  in  election  for  the  empire, 
With  these  our  late-deceased  emperor's  sons : 
Be  candidatus  then,  and  put  it  on. 
And  help  to  set  a  head  on  headless  Rome. 

Tit.  A  better  head  her  glorious  body  fits 

Than  his  that  shakes  for  age  and  feebleness  : 

What  should  I  don  this  robe,  and  trouble  you  ? 

Be  chosen  with  proclamations  to-day,  190 

To-morrow  yield  up  rule,  resign  my  life, 

And  set  abroad  new  business  for  you  all  ? 

Rome,  I  have  been  thy  soldier  forty  years. 

And  led  my  country's  strength  successfully, 

And  buried  one  and  twenty  valiant  sons. 

Knighted  in  field,  slain  manfully  in  arms. 

In  right  and  service  of  their  noble  country : 

Give  me  a  staff  of  honour  for  mine  age. 

But  not  a  sceptre  to  control  the  world : 

Upright  he  held  it,  lords,  that  held  it  last.  200 

Marc.  Titus,  thou  shalt  obtain  and  ask  the  empery. 

Sat.  Proud  and  ambitious  tribune,  canst  thou  tell? 

Tit.  Patience,  Prince  Saturninus. 

Sat.  Romans,  do  me  right ; 

Patricians,  draw  your  swords,  and  sheathe  them  not 
Till  Saturninus  be  Rome's  emperor. 
Andronicus,  would  thou  wert  shipp'd  to  hell, 
Rather  than  rob  me  of  the  people's  hearts  ! 

Luc.  Proud  Saturnine,  interrupter  of  the  good 
That  noble-minded  Titus  means  to  thee ! 

Tit.  Content  thee,  prince;  I  will  restore  to  thee  210 

The  people's  hearts,  and  wean  them  from  themselves. 

Bas.  Andronicus.  I  do  not  flatter  thee, 

24 


TITUS  ANDRONICUS  Act  L  Sc.  i. 

But  honour  thee,  and  will  do  till  I  die : 
My  faction  if  thou  strengthen  with  thy  friends, 
I  will  most  thankful  be ;   and  thanks  to  men 
Of  noble  minds  is  honourable  meed. 

Tit.  People  of  Rome,  and  people's  tribunes  here, 
I  ask  your  voices  and  your  suffrages  : 
Will  you  bestow  them  friendly  on  Andronicus  ? 

Tribunes.  To  gratify  the  good  Andronicus,  220 

And  gratulate  his  safe  return  to  Rome, 
The  people  will  accept  whom  he  admits. 

Tit,  Tribunes,  I  thank  you :   and  this  suit  I  make. 
That  you  create  your  emperor's  eldest  son. 
Lord  Saturnine ;   whose  nirtues  will,  I  hope. 
Reflect  on  Rome  as  Titan's  rays  on  earth. 
And  ripen  justice  in  this  commonweal : 
Then,  if  you  will  elect  by  my  advice. 
Crown  him,  and  say  '  Long  live  our  emperor ! ' 

Marc.  With  voices  and  applause  of  every  sort,  230 

Patricians  and  plebeians,  we  create 
Lord  Saturninus  Rome's  great  emperor, 
And  say  '  Long  live  our  Emperor  Saturnine !  ' 

[A  long  flourish  till  they  come  down. 

Sat.  Titus  Andronicus,  for  thy  favours  done 
To  us  in  our  election  this  day, 
I  give  thee  thanks  in  part  of  thy  deserts. 
And  will  with  deeds  requite  thy  gentleness : 
And,  for  an  onset,  Titus,  to  advance 
Thy  name  and  honourable  family, 
Lavinia  will  I  make  my  empress,  240 

Rome's  royal  mistress,  mistress  of  my  heart. 
And  in  the  sacred  Pantheon  her  espouse : 
Tell  me,  Andronicus,  doth  this  motion  please  thee? 

25 


Act  I.  Sc.  i.  THE  TRAGEDY  OF 

Tit.  It  doth,  my  worthy  lord ;   and  in  this  match 
I  hold  me  highly  honour'd  of  your  grace : 
And  here,  in  sight  of  Rome,  to  Saturnine, 
King  and  commander  of  our  commonweal. 
The  wide  world's  emperor,  do  I  consecrate 
My  sword,  my  chariot  and  my  prisoners ; 
Presents  well  worthy  Rome's  imperious  lord :        250 
Receive  them  then,  the  tribute  that  I  owe, 
Mine  honour's  ensigns  humbled  at  thy  feet. 

Sat.  Thanks,  noble  Titus,  father  of  my  life ! 
How  proud  I  am  of  thee  and  of  thy  gifts, 
Rome  shall  record ;  and  when  I  do  forget 
The  least  of  these  unspeakable  deserts, 
Romans,  forget  your  fealty  to  me. 

Tit.  [To  Tamora]  Now,  madam,  are  you  prisoner  to  an 
emperor ; 
.,  To  him  that,  for  your  honour  and  your  state, 
Will  use  you  nobly  and  your  followers.  260 

Sat.  A  goodly  lady,  trust  me ;   of  the  hue 

That  I  would  choose,  were  I  to  choose  anew. 
Clear  up,  fair  queen,  that  cloudy  countenance : 
Though  chance  of  war  hath  wrought  this  change  of 

cheer. 
Thou  comest  not  to  be  made  a  scorn  in  Rome : 
■    Princely  shall  be  thy  usage  every  way. 
Rest  on  my  w^ord,  and  let  not  discontent 
Daunt  all  your  hopes :   madam,  he  comforts  you 
Can  make  you  greater  than  the  Queen  of  Goths. 
Lavinia,  3^ou  are  not  displeased  with  this  ?  270 

Laz'.   Not  I,  my  lord ;    sith  true  nobility 

Warrants  these  words  in  princely  courtesy. 

Sat.  Thanks,  sweet  Lavinia.     Romans,  let  us  go : 

26 


TITUS  ANDRONICUS  Act  I.  Sc.  i. 

Ransomless  here  we  set  our  prisoners  free : 
Proclaim  our  honours,  lords,  with  trump  and  drum. 
[Flourish.     Saturniniis  courts  Tauiora  in  dnuih  shozc. 
Bas.    [Sei:::i}ig  Laz'ijiia]   Lord  Titus,  by  your  leave,  this 

maid  is  mine. 
Tit.  How,  sir !   are  you  in  earnest  then,  my  lord  ? 
Bas.  Ay,  noble  Titus,  and  resolved  withal 

To  do  myself  this  reason  and  this  right. 
Marc.  '  Suum  cuique  '  is  our  Roman  justice:  280 

This  prince  in  justice  seizeth  but  his  own. 
Luc.  And  that  he  will,  and  shall,  if  Lucius  live. 
Tit.  Traitors,  avaunt !     Where  is  the  emperor's  guard? 

Treason,  my  lord!     Lavinia  is  surprised! 
Sat.  Surprised  !   by  whom  ? 

Bas.  By  him  that  justly  may 

Bear  his  betroth'd  from  all  the  world  away. 

[EA'cuut  BassiaJius  and  Marcus  z^'itli  Lavinia. 
Milt.  Brothers,  help  to  convey  her  hence  away. 
And  with  my  sword  I  '11  keep  this  door  safe. 

[Exeunt  Lucius,  Quintus,  and  Martins. 
Tit.  Follow,  my  lord,  and  I  '11  soon  bring  her  back. 
Mut.  My  lord,  you  pass  not  here. 

Tit.  What,  villain  boy!     290 

Barr'st  me  my  way  in  Rome?  [Stabbing  Mutius. 

Mut.  Help,  Lucius,  help !      [Dies. 

[During  the  fray  Saturninus,  Tamora,  Demetrius, 

Chiron  and  Aaron  go  out,  and  re-enter  above. 

Re-enter  Lucius. 

Luc.  My  lord,  you  are  unjust;   and,  more  than  so. 
In  wrongful  quarrel  you  have  slain  your  son. 
Tit.  Nor  thou,  nor  he,  are  any  sons  of  mine ; 

27 


Act  I.  Sc.  i.  THE  TRAGEDY  OF 

My  sons  would  never  so  dishonour  me : 
Traitor,  restore  Lavinia  to  the  emperor. 

Luc.  Dead,  if  you  will ;  but  not  to  be  his  wife, 

That  is  another's  lawful  promised  love.  [Exit. 

Sat.  No,  Titus,  no  ;  the  emperor  needs  her  not, 

Nor  her,  nor  thee,  nor  any  of  thy  stock :  300 

I  '11  trust  by  leisure  him  that  mocks  me  once ; 
Thee  never,  nor  thy  traitorous  haughty  sons, 
Confederates  all  thus  to  dishonour  me. 
Was  none  in  Rome  to  make  a  stale 
But  Saturnine?     Full  well,  Andronicus, 
Agree  these  deeds  with  that  proud  brag  of  thine. 
That  saidst,  I  begg'd  the  empire  at  thy  hands. 

Tit.  O  monstrous!  what  reproachful  words  are  these? 

Sat.  But  go  thy  ways ;  go  give  that  changing  piece 

To  him  that  flourish'd  for  her  with  his  sword :        310 
A  valiant  son-in-law  thou  shalt  enjoy; 
One  fit  to  bandy  with  thy  lawless  sons. 
To  ruffle  in  the  commonwealth  of  Rome. 

Tit.  These  words  are  razors  to  my  wounded  heart. 

Sat.  And  therefore,  lovely  Tamora,  Queen  of  Goths, 
That,  like  the  stately  Phoebe  'mongst  her  nymphs. 
Doth  overshine  the  gallant'st  dames  of  Rome, 
If  thou  be  pleased  with  this  my  sudden  choice. 
Behold,  I  choose  thee,  Tamora,  for  my  bride, 
And  will  create  thee  empress  of  Rome.  320 

Speak,  Queen  of  Goths,  dost  thou  applaud  my  choice  ? 
And  here  I  swear  by  all  the  Roman  gods, 
Sith  priest  and  holy  water  are  so  near, 
And  tapers  burn  so  bright,  and  every  thing 
In  readiness  for  Hym.en^eus  stand, 
I  will  not  re-salute  the  streets  of  Rome, 
28 


TITUS  ANDRONICUS  Act  I.  Sc.  i. 

"     Or  climb  my  palace,  till  from  forth  this  place 
I  lead  espoused  my  bride  along  with  me. 

Tarn.  And  here,  in  sight  of  heaven,  to  Rome  I  swear, 

If  Saturnine  advance  the  Queen  of  Goths,  330 

She  will  a  handmaid  be  to  his  desires, 
A  loving  nurse,  a  mother  to  his  youth. 

Sat.  Ascend,  fair  queen,  Pantheon.    Lords,  accompany 
Your  noble  emperor  and  his  lovely  bride, 
Sent  by  the  heavens  for  Prince  Saturnine, 
Whose  wisdom  hath  her  fortune  conquered : 
There  shall  we  consummate  our  spousal  rites. 

[Exeunt  all  hut  Titus. 

Tit.  I  am  not  bid  to  wait  upon  this  bride. 

Titus,  when  wert  thou  wont  to  walk  alone, 
Dishonour'd  thus  and  challenged  of  wrongs  ?         340 

Re-enter  Marcus,  Lucius,  Ouintus,  and  Martins. 

Marc.  O  Titus,  see,  O,  see  what  thou  hast  done ! 

In  a  bad  quarrel  slain  a  virtuous  son. 
Tit.  No,  foolish  tribune,  no  ;  no  son  of  mine. 

Nor  thou,  nor  these,  confederates  in  the  deed 

That  hath  dishonour'd  all  our  family ; 

Unworthy  brother,  and  unworthy  sons ! 
Lite.  But  let  us  give  him  burial,  as  becomes  ; 

Give  Mutius  burial  with  our  brethren. 
Tit.  Traitors,  away !  he  rests  not  in  this  tomb : 

This  monument  five  hundred  years  hath  stood,       350 

Which  I  have  sumptuously  re-edified : 

Here  none  but  soldiers  and  Rome's  servitors 

Repose  in  fame ;  none  basely  slain  in  brawls  : 

Bury  him  where  you  can,  he  comes  not  here. 
Marc.  My  lord,  this  is  impiety  in  you : 

29 


Act  I.  Sc.  i.  THE  TRAGEDY  OF 

My  nephew  IMutius'  deeds  do  plead  for  him ; 
He  must  be  buried  with  his  brethren. 

,  ^      *   V  And  shall,  or  him  we  will  accompany. 

Tit.  And  shall !  what  villain  was  it  spake  that  word  ? 
Qiiin.  He  that  would  vouch  it  in  any  place  but  here.     360 
Tit.  What,  would  you  bury  him  in  my  despite? 
Marc.  No,  noble  Titus  ;  but  entreat  of  thee 

To  pardon  IMutius  and  to  bury  him. 
Tit.  ]\Iarcus,  even  thou  hast  struck  upon  my  crest, 

And  with  these  boys  mine  honour  thou  hast  wounded  : 

i\Iy  foes  I  do  repute  you  every  one ; 

So  trouble  me  no  more,  but  get  you  gone. 
Mart.  He  is  not  with  himself  ;  let  us  withdraw. 
Oiiin.  Xot  I,  till  i\Iutius'  bones  be  buried. 

[Marcus  and  the  sons  of  Titus  kneel. 
Marc.  Brother,  for  in  that  name  doth  nature  plead, —  370 
Quin.  Father,  and  in  that  name  doth  nature  speak, — 
Tit.   Speak  thou  no  more,  if  all  the  rest  will  speed. 
Marc.  Renowned  Titus,  more  than  half  my  soul, — 
Luc.  Dear  father,  soul  and  substance  of  us  all, — 
Marc.  Suffer  thy  brother  ^Marcus  to  mter 

His  noble  nephew  here  in  virtue's  nest, 

That  died  in  honour  and  Lavinia's  cause. 

Thou  art  a  Roman ;  be  not  barbarous  : 

The  Greeks  upon  advice  did  bury  Ajax 

That  slew  himself ;  and  wise  Laertes'  son  380 

Did  graciously  plead  for  his  funerals  : 

Let  not  young  Mutius  then,  that  was  thy  joy. 

Be  barr'd  his  entrance  here. 
Tit.  Rise,  ^larcus,  rise : 

The  dismall'st  day  is  this  that  ere  I  saw, 

30 


TITUS  ANDRONICUS  Act  I.  Sc.  i. 

To  be  dishonour'd  by  my  sons  in  Rome !. 

Well,  bury  him,  and  bury  me  the  next, 

[M  lit  ins  is  put  into  the  tomb. 
Luc.   Tliere  He  thy  bones,  sweet  ^lutius,  with  thy  friends, 

Till  we  with  trophies  do  adorn  thy  tomb. 
All.    [Kneeling]    Xo  man  shed  tears  for  noble  Mutius  ; 

He  lives  in  fame  that  died  in  virtue's  cause.  390 

Maix.  My  lord,  to  step  out  of  these  dreary  dumps, 

How  comes  it  that  the  subtle  Queen  of  Goths 

Is  of  a  sudden  thus  advanced  in  Rome  ? 
Tit.   I  knovv-  not,  ^larcus  ;  but  I  know  it  is, 

AMiether  by  device  or  no,  the  heavens  can  tell : 

Is  she  not  then  beholding  to  the  man 

That  brought  her  for  this  high  good  turn  so  far  ? 

Yes,  and  will  nobly  him  remunerate. 

Flourish.  Re-enter,  from  one  side,  Saturninus  attended, 
Tamora,  Demetrius.  Chiron,  and  Aaron;  from  the 
other,  Bassianus,  Lavinia,  i^'ith  others. 

Sat,  So  Bassianus,  you  have  playVl  your  prize : 

God  give  you  joy,  sir,  of  your  gallant  bride!  400 

Bas.  And  you  of  yours,  my  lord !     I  say  no  more, 

Xor  wish  no  less  ;  and  so  I  take  my  leave. 
Sat.  Traitor,  if  Rome  have  law,  or  we  have  power, 

Thou  and  thy  faction  shall  repent  this  rape. 
Bas.  Rape,  call  you  it,  my  lord,  to  seize  my  own. 

My  true-betrothed  love,  and  now  my  wife? 

But  let  the  laws  of  Rome  determine  all ; 

Meanwhile  I  am  possess'd  of  that  is  mine. 
Sat.  'Tis  good,  sir  :  you  are  very  short  with  us  ; 

But  if  we  live,  we  '11  be  as  sharp  with  you.  410 

Bas.  My  lord,  what  I  have  done,  as  best  I  may, 

31 


Act  I.  Sc.  i.  THE  TRAGEDY  OF 

Answer  I  must,  and  shall  do  with  my  life. 

Only  thus  much  I  give  your  grace  to  know : 

By  all  the  duties  that  I  owe  to  Rome, 

This  noble  gentleman,  Lord  Titus  here, 

Is  in  opinion  and  in  honour  wrong'd  ; 

That,  in  the  rescue  of  Lavinia, 

With  his  own  hand  did  slay  his  youngest  son. 

In  zeal  to  you  and  highly  moved  to  wrath 

To  be  controird  in  that  he  frankly  gave:  420 

Receive  him  then  to  favour,  Sattirnine, 

That  hath  express'd  himself  in  all  his  deeds 

A  father  and  a  friend  to  thee  and  Rome. 

Tit.  Prince  Bassianus,  leave  to  plead  my  deeds : 
'Tis  thou  and  those  that  have  dishonour'd  me. 
Rome  and  the  righteous  heavens  be  my  judge, 
How  I  have  loved  and  honoured  Saturnine  ! 

Tarn.  My  worthy  lord,  if  ever  Tamora 

Were  gracious  in  those  princely  eyes  of  thine. 

Then  hear  me  speak  indififerently  for  all ;  430 

And  at  my  suit,  sweet,  pardon  what  is  past. 

Sat.  What,  madam !    be  dishonour'd  openly, 
And  basely  put  it  up  without  revenge  ? 

Tarn.  Not  so,  my  lord ;  the  gods  of  Rome  forfend 
I  should  be  author  to  dishonour  you ! 
But  on  mine  honour  dare  I  undertake 
For  good  Lord  Titus'  innocence  in  all ; 
Whose  fury  not  dissembled  speaks  his  griefs : 
Then,  at  my  suit,  look  graciously  on  him ; 
Lose  not  so  noble  a  friend  on  vain  suppose, .  440 

Nor  with  sour  looks  aftlict  his  gentle  heart. 
[Aside  to  Sat.]  My  lord,  be  ruled  by  me,  be  won  at  last ; 
Dissemble  all  your  griefs  and  discontents : 

32 


TITUS  ANDRONICUS  Act  I.  Sc.  i. 

You  are  but  newly  planted  in  your  throne ; 

Lest  then  the  people,  and  patricians  too, 

Upon  a  just  survey,  take  Titus'  part. 

And  so  supplant  you  for  ingratitude, 

Which  Rome  reputes  to  be  a  heinous  sin, 

Yield  at  entreats,  and  then  let  me  alone : 

I  '11  find  a  day  to  massacre  them  all,  450 

And  raze  their  faction  and  their  family. 

The  cruel  father  and  his  traitorous  sons, 

To  whom  I  sued  for  my  dear  son's  life ; 

And  make  them  know  what  'tis  to  let  a  queen 

Kneel  in  the  streets  and  beg  for  grace  in  vain. — 

Come,  come,  sweet  emperor ;    come,  Andronicus ; 

Take  up  this  good  old  man,  and  cheer  the  heart 

That  dies  in  tempest  of  thy  angry  frown. 

Sat.  Rise,  Titus,  rise ;   my  empress  hath  prevail'd. 

Tit.   I  thank  your  majesty,  and  her,  my  lord:  460 

^    These  words,  these  looks,  infuse  new  life  in  me. 

TafJi.  'iitus,  I  am  incorporate  in  Rome, 
A  Roman  now  adopted  happily, 
And  must  advise  the  emperor  for  his  good. 
This  day  all  quarrels  die,  Andronicus. 
And  let  it  be  mine  honour,  good  my  lord. 
That  I  have  reconciled  your  friends  and  you. 
For  you,  Prince  Bassianus,  I  have  pass'd 
My  word  and  promise  to  the  emperor, 
That  you  will  be  more  mild  and  tractable.  470 

And  fear  not,  lords,  and  you,  Lavinia ; 
By  my  advice,  all  humbled  on  your  knees. 
You  shall  ask  pardon  of  his  majesty. 

Luc.  We  do ;   and  vow  to  heaven,  and  to  his  highness, 
That  what  we  did  was  mildly  as  we  might, 

33 


Act  II.  Sc.  i.  THE  TRAGEDY  OF 

Tendering  our  sister's  honour  and  our  own. 

Marc.  That,  on  mine  honour,  here  1  do  protest. 

Sat.  Away,  and  talk  not;   trouble  us  no  more. 

Tain.   Nay,  nay,  sweet  emperor,  we  must  all  be  friends : 
The  tribune  and  his  nephews  kneel  for  grace ;        480 
I  will  not  be  denied :   sweet  heart,  look  back. 

Sat.  Marcus,  for  thy  sake  and  thy  brother's  here, 
And  at  my  lovely  Tamora's  entreats, 
I  do  remit  these  young  men's  heinous  faults : 
Stand  up. 

Lavinia,  though  you  left  me  like  a  churl, 
I  found  a  friend ;   and  sure  as  death  I  swore 
I  would  not  part  a  bachelor  from  the  priest. 
Come,  if  the  emperor's  court  can  feast  two  brides, 
You  are  my  guest,  Lavinia,  and  your  friends.      490 
This  day  shall  be  a  love-day,  Tamora. 

Tit.  To-morrow,  an  it  please  your  majesty 

To  hunt  the  panther  and  the  hart  with  me. 

With  horn  and  hound  we  '11  give  your  grace  bonjour. 

Sat.  Be  it  so,  Titus,  and  gramercy  too. 

[Flourish.     Exeunt. 

ACT  SECOND. 
'    Scene  I. 

Rome.     Before  the  palace. 

Enter  Aaron. 

Aar.  Now  climbeth  Tamora  Olympus'  top, 
Safe  out  of  fortune's  shot,  and  sits  aloft, 
Secure  of  thunder's  crack  or  lightninsr  flash. 
Advanced  above  pale  envy's  threatening  reach. 
As  when  the  golden  sun  salutes  the  morn, 

34 


TITUS  ANDRONICUS  Act  II.  Sc.  i. 

-\nd,  having  gilt  the  ocean  with  his  beams, 

Gallops  the  zodiac  in  his  glistering  coach, 

And  overlooks  the  highest-peering  hills; 

So  Tamora : 

Upon  her  wit  doth  earthly  honour  wait,  lo 

And  virtue  stoops  and  trembles  at  her  frown. 

Then,  Aaron,  arm  thy  heart,  and  fit  thy  thoughts. 

To  mount  aloft  with  thy  imperial  mistress, 

And  mount  her  pitch,  whom  thou  in  triumph  long 

Hast  prisoner  held,  fetter'd  in  amorous  chains. 

And  faster  bound  to  Aaron's  charming  eyes 

Than  is  Prometheus  tied  to  Caucasus. 

Away  w^th  slavish  weeds  and  servile  thoughts ! 

I  will  be  bright,  and  shine  in  pearl  and  gold, 

To  wait  upon  this  new-made  empress.  20 

To  wait,  said  I  ?  to  wanton  with  this  queen, 

This  goddess,  this  Semiramis,  this  nymph. 

This  siren,  that  will  charm  Rome's  Saturnine, 

And  see  his  shipwreck  and  his  commonweal's. 

Holloa!   what  storm  is  this? 

Enter  Demetrius  and  Chiron,  braving. 

Dem.  Chiron,  thy  years  want  wit,  thy  wit  w^ants  edge, 
And  manners,  to  intrude  where  I  am  graced. 
And  may,  for  aught  thou  know'st,  affected  be. 

Chi.  Demetrius,  thou  dost  over-ween  in  all, 

And  so  in  this,  to  bear  me  down  with  braves.  30 

'Tis  not  the  difference  of  a  year  or  two 

Makes  me  less  gracious,  or  thee  more  fortunate : 

I  am  as  able  and  as  fit  as  thou 

To  serve,  and  to  deserve  my  mistress'  grace ; 

And  that  my  sword  upon  thee  shall  approve, 

35 


Act  II.  Sc.  i.  THE  TRAGEDY  OF 

And  plead  my  passions  for  Lavinia's  love. 
Aar.    [Aside]   Clubs,  clubs !  these  lovers  will  not  keep  the 

peace. 
Don.  Why,  boy,  although  our  mother,  unadvised, 

Gave  you  a  dancing-rapier  by  your  side, 

Are  you  so  desperate  grown,  to  threat  your  friends? 

Go  to ;   have  your  lath  glued  within  your  sheath    41 

Till  you  know  better  how  to  handle  it. 
Chi.  Meanwhile,  sir,  with  the  little  skill  I  have. 

Full  well  shalt  thou  perceive  how  much  I  dare. 
Dcin.  Ay,  boy,  grow  ye  so  brave ?  [They  draii\ 

Aar.    [Coming  forzuard]  Why,  how  now,  lords! 

So  near  the  emperor's  palace  dare  you  draw. 

And  maintain  such  a  quarrel  openly  ? 

Full  well  I  wot  the  ground  of  all  this  grudge : 

I  would  not  for  a  million  of  gold 

The  cause  were  known  to  them  it  most  concerns ; 

Nor  would  your  noble  mother  for  much  more        51 

Be  so  dishonour'd  in  the  court  of  Rome. 

For  shame,  put  up. 
Dein.  Not  I,  till  I  have  sheathed 

My  rapier  in  his  bosom,  and  withal 

Thrust  those  reproachful  speeches  down  his  throat. 

That  he  hath  breathed  in  my  dishonour  here. 
CJii.  For  that  I  am  prepared  and  full  resolved. 

Foul-spoken  coward  !  that  thunder'st  with  thy  tongue, 
-    And  with  thy  weapon  nothing  darest  perform. 
Aar.  Away,  I  say !  60 

Now,  by  the  gods  that  warlike  Goths  adore. 

This  petty  brabble  will  undo  us  all. 

Why,  lords,  and  think  you  not  how  dangerous 

It  is  to  jet  upon  a  prince's  right? 

What,  is  Lavinia  then  become  so  loose, 

36 


TITUS  ANDRONICUS  Act  II.  Sc.  i. 

Or  Bassianus  so  degenerate, 

That  for  her  love  such  quarrels  may  be  broacliM 

Without  controlment,  justice,  or  revenge? 

Young  lords,  beware !    an  should  the  empress  know 

This  discord's  ground,  the  music  w^ould  not  please. 

Chi.  I  care  not,  I,  knew  she  and  all  the  world  :  71 

I  love  Lavinia  more  than  all  the  world. 

DciJi.  Youngling,  learn  thou  to  make  some  meaner  choice  : 
Lavinia  is  thine  elder  brother's  hope. 

Aar.  Why,  are  ye  mad  ?  or  know  ye  not,  in  Rome 
How  furious  and  impatient  they  be. 
And  cannot  brook  competitors  in  love? 
I  tell  you,  lords,  you  do  but  plot  your  deaths 
By  this  device. 

Chi.  Aaron,  a  thousand  deaths 

Would  I  propose  to  achieve  her  whom  I  love.         80 

Aar.  To  achieve  her !   how  ? 

Dcjn.  Why  makest  thou  it 'so  strange? 

She  is  a  woman,  therefore  may  be  woo'd ; 
She  is  a  woman,  therefore  may  be  w^on  ; 
She  is  Lavinia,  therefore  must  be  loved. 
What,  man !   more  water  glideth  by  the  mill 
Than  wots  the  miller  of ;  and  easy  it  is 
Of  a  cut  loaf  to  steal  a  shive,  we  know : 
Though  Bassianus  be  the  emperor's  brother, 
Better  than  he  have  worn  \^ilcan's  badge. 

Aar.    [Aside]   Ay,  and  as  good  as  Saturninus  may.        90 

Deni.  Then  why  should  he  despair  that  knows  to  court  it 
With  words,  fair  looks,  and  liberality? 
What,  hast  not  thou  full  often  struck  a  doe, 
And  borne  her  cleanly  by  the  keeper's  nose? 

Aar.  Why,  then,  it  seems,  some  certain  snatch  or  so 

27 


Act  II.  Sc.  i.  THE  TRAGEDY  OF 

Vrould  serve  your  turns. 

Clii.  Ay,  so  the  turn  were  served. 

Dcni.  Aaron,  thou  hast  hit  it. 

Would  you  had  hit  it  too ! 
Then  should  not  we  be  tired  with  this  ado. 
Why,  hark  ye,  hark  ye !   and  are  you  such  fools 
To  square  for  this  ?   would  it  offend  you,  then,     loo 
That  both  should  speed? 

Clii.  Faith,  not  me. 

Dcin.  Nor  me,  so  I  were  one. 

Aar.  For  shame,  be  friends,  and  join  for  that  you  jar : 
'Tis  policy  and  strata^^em  must  do 
That  you  affect ;   and  so  must  you  resolve. 
That  what  you  cannot  as  you  would  achieve, 
You  must  perforce  accomplish  as  you  may. 
Take  this  of  me :  Liicrece  was  not  more  chaste 
Than  this  Lavinia,  Bassianus'  love. 
A  speedier  course  than  lingering  languishment     no 
Must  wx  pursue,  and  I  have  found  the  path. 
Aly  lords,  a  solemn  hunting  is  in  hand ; 
There  will  the  lovely  Roman  ladies  troop  : 
The  forest  walks  are  wide  and  spacious ; 
And  many  unfrequented  plots  there  are 
Fitted  by  kind  for  rape  and  villany : 
Single  you  thither  then  this  dainty  doe, 
And  strike  her  home  by  force,  if  not  by  words: 
This  way,  or  not  at  all,  stand  you  in  hope. 
Come,  come,  our  empress,  with  her  sacred  wit     120 
To  villany  and  vengeance  consecrate. 
Will  we  acquaint  with  all  that  we  intend ; 
And  she  shall  file  our  engines  with  advice. 
That  will  not  suffer  you  to  square  yourselves, 

38 


TITUS  ANDRONICUS  Act  II.  Sc.  ii. 

But  to  your  wishes'  height  advance  you  both. 
The  emperor's  court  is  Hke  the  house  of  Fame, 
The  palace  full  of  tongues,  of  eyes  and  ears : 
The  woods  are  ruthless,  dreadful,  deaf  and  dull ; 
There  speak,  andstrike,  brave  boys,  andtakeyour  turns  ; 
There  serve  your  lust,  shadow'd  from  heaven's  eye, 
And  revel  in  Lavinia's  treasury.  131 

Chi.  Thy  counsel,  lad,  smells  of  no  cowardice. 

Dem.  Sit  fas  aut  nefas,  till  I  find  the  stream 

To  cool  this  heat,  a  charm  to  calm  these  fits. 

Per  Styga,  per  manes  vchor.  [Exeunt. 

Scene  II. 

A  forest  near  Rome.     Horns  and  cry  of  hounds  heard. 

Enter    Titus   Andronicus,    with   Hunters,    &c.,    Mareus, 
Lucius,  Quintiis,  and  Martins. 

Tit.  Tlie  hunt  is  up,  the  morn  is  bright  and  grey. 

The  fields  are  fragrant,  and  the  woods  are  green : 

Uncouple  here,  and  let  us  make  a  bay. 

And  wake  the  emperor  and  his  lovely  bride. 

And  rouse  the  prince,  and  ring  a  hunter's  peal. 

That  all  the  court  may  echo  w^ith  the  noise. 

Sons,  let  it  be  your  charge,  as  it  is  ours, 

To  attend  the  emperor's  person  carefully  : 

I  have  been  troubled  in  my  sleep  this  night, 

But  dawning  day  new  comfort  hath  inspired.  10 

A  cry  of  hounds,  and  horns  ivinded  in  a  peal.  Enter 
Saturninus,  Tamora,  Bassiamis,  Lavinia,  Demetrius, 
Chiron,  and  their  Attendants. 

Many  good  morrows  to  your  majesty ; 

39 


Act  II.  Sc.  iii.  THE  TRAGEDY  OF 

Madam,  to  you  as  many  and  as  good: 

I  promised  your  grace  a  hunter's  peal. 
Sat,  And  you  have  wrung  it  lustily,  my  lords ; 

Somewhat  too  early  for  new-married  ladies. 
Bas.  Lavinia,  how  say  you? 
Lav.  I  say,  no  ; 

I  have  been  broad  awake  two  hours  and  more. 
Sat.  Come  on  then ;   horse  and  chariots  let  us  have, 

And  toour  sport.  [ToTamora]  Madam,  now  shall  ye  see 

Our  Roman  hunting. 
Ularc.  I  have  dogs,  my  lord,  20 

Will  rouse  the  proudest  panther  in  the  chase, 

And  climb  the  highest  promontory  top. 
Tit.  And  I  have  horse  will  follow  where  the  game 

Makes  way,  and  run  like  swallows  o'er  the  plain. 
Dem.  Chiron,  we  hunt  not,  we,  with  horse  nor  hound, 

But  hope  to  pluck  a  dainty  doe  to  ground.  [Exeunt. 

Scene  III. 

A  lonely  part  of  the  forest. 

Enter  Aaron,  zvith  a  bag  of  gold. 

Aar.  He  that  had  wit  would  think  that  I  had  none, 
To  bury  so  much  gold  under  a  tree, 
And  never  after  to  inherit  it. 
Let  him  that  thinks  of  me  so  abjectly 
Know  that  this  gold  must  coin  a  stratagem, 
Which,  cunningly  effected,  will  beget 
A  very  excellent  piece  of  villany : 
And  so  repose,  sweet  gold,  for  their  unrest 

[Hides  the  gold. 
That  have  their  alms  out  of  the  empress'  chest. 


TITUS  ANDRONICUS  Act  II.  Sc.  iii. 

Enter  Tamora. 

Tarn.  My  lovely  Aaron,  wherefore  look'st  thou  sad,       lo 
When  every  thing  doth  make  a  gleeful  boast  ? 
The  birds  chant  melody  on  every  bush ; 
The  snake  lies  rolled  in  the  cheerful  sun  ; 
The  green  leaves  quiver  with  the  cooling  wind, 
And  make  a  chequer'd  shadow  on  the  ground : 
Under  their  sweet  shade,  Aaron,  let  us  sit, 
And,  whilst  the  babbling  echo  mocks  the  hounds. 
Replying  shrilly  to  the  well-tuned  horns. 
As  if  a  double  hunt  were  heard  at  once, 
Let  us  sit  down  and  mark  their  yellowing  noise  ;      20 
And,  after  conflict  such  as  was  supposed 
The  wandering  prince  and  Dido  once  enjoy'd. 
When  with  a  happy  storm  they  were  surprised. 
And  curtain'd  with  a  counsel-keeping  cave, 
We  may,  each  wreathed  in  the  other's  arms, 
Our  pastimes  done,  possess  a  golden  slumber ; 
While  hounds  and  horns  and  sweet  melodious  birds 
Be  unto  us  as  is  a  nurse's  song 
Of  lullaby  to  bring  her  babe  asleep. 

Aar.  Madam,  though  Venus  govern  your  desires,  30 

Saturn  is  dominator  over  mine : 
What  signifies  my  deadly-standing  eye, 
My  silence  and  my  cloudy  melancholy, 
My  fleece  of  woolly  hair  that  now  uncurls 
Even  as  an  adder  when  she  doth  unroll 
To  do  some  fatal  execution  ? 
No,  madam,  these  are  no  venereal  signs  : 
Vengeance  is  in  my  heart,  death  in  my  hand. 
Blood  and  revenge  are  hammering  in  my  head. 

41 


Act  II.  Sc.  iii.  THE  TRAGEDY  OF 

Hark,  Tamora,  the  empress  of  my  soul,  40 

Which    never    hopes    more    heaven    than    rests    in 

thee. 
This  is  the  day  of  doom  for  Bassianus  : 
His  Philomel  must  lose  her  tongue  to-day. 
Thy  sons  make  pillage  of  her  chastity. 
And  wash  their  hands  in  Bassianus'  blood. 
Seest  thou  this  letter  ?  take  it  up,  I  pray  thee, 
And  give  the  king  this  fatal-plotted  scroll. 
Now  question  me  no  more ;   we  are  espied ; 
Here  comes  a  parcel  of  our  hopeful  booty. 
Which  dreads  not  yet  their  lives'  destruction.  50 

Tani.  Ah,  my  sweet  Moor,  sweeter  to  me  than  life ! 

Aar.  No  more,  great  empress  ;  Bassianus  comes  : 
Be  cross  with  him,  and  I  '11  go  fetch  thy  sons 
To  back  thy  quarrels,  whatsoe'er  they  be.  [Exit. 

Enter  Bassianus  and  Lavinia. 

Bas.  Who  have  we  here  ?    Rome's  royal  empress, 
Unfumish'd  of  her  well-beseeming  troop? 
Or  is  it  Dian,  habited  like  her. 
Who  hath  abandoned  her  holy  groves 
To  see  the  general  hunting  in  this  forest  ? 

Tani.  Saucy  controller  of  my  private  steps !  60 

Had  I  the  power  that  some  say  Dian  had. 
Thy  temples  should  be  planted  presently 
With  horns,  as  was  Actaeon's,  and  the  hounds 
Should  drive  upon  thy  new-transformed  limbs, 
Unmannerly  intruder  as  thou  art ! 

Laz:  Under  your  patience,  gentle  empress, 

Tis  thought  you  have  a  goodly  gift  in  horning; 
And  to  be  doubted  that  your  Moor  and  you 
42 


TITUS  ANDRONICUS  Act  II.  Sc.  iii. 

Are  singled  forth  to  try  experiments  : 

Jove  shield  your  husband  from  his  hounds  to-day !  70 

'Tis  pity  they  should  take  him  for  a  stag. 

Bas.  Believe  me,  queen,  your  swarth  Cimmerian 
Doth  make  your  honour  of  his  body's  hue. 
Spotted,  detested,  and  abominable. 
Why  are  you  sequester'd  from  all  your  train, 
Dismounted  from  your  snow-white  goodly  steed, 
And  wander'd  hither  to  an  obscure  plot, 
Accompanied  but  with  a  barbarous  Moor, 
If  foul  desire  had  not  conducted  you? 

Lav.  And,  being  intercepted  in  your  sport,  80 

Great  reason  that  my  noble  lord  be  rated 
For  sauciness.    I  pray  you,  let  us  hence. 
And  let  her  joy  her  raven-colour'd  love; 
This  valley  fits  the  purpose  passing  well. 

Bas.  The  king  my  brother  shall  have  note  of  this. 

Lav.  Ay,  for  these  slips  have  made  him  noted  long : 
Good  king,  to  be  so  mightily  abused ! 

Tarn.  Why  have  I  patience  to  endure  all  this? 

Enter  Demetrius  and  Chiron. 

Dent.  How  now,  dear  sovereign,  and  our  gracious  mother ! 
Why  doth  your  highness  look  so  pale  and  wan  ?       90 

Tarn.  Have  I  not  reason,  think  you,  to  look  pale? 
These  two  have  ticed  me  hither  to  this  place  : 
A  barren  detested  vale,  you  see  it  is ; 
The  trees,  though  summer,  yet  forlorn  and  lean, 
O'ercome  with  moss  and  baleful  mistletoe  : 
Here  never  shines  the  sun  ;  here  nothing  breeds. 
Unless  the  nightly  owl  or  fatal  raven : 
And  when  they  show'd  me  this  abhorred  pit, 

43 


Act  II.  Sc.  iii.  THE  TRAGEDY  OF 

They  told  me,  here,  at  dead  time  of  the  night, 

A  thousand  fiends,  a  thousand  hissing  snakes,         lOO 

Ten  thousand  swelHng  toads,  as  many  urchins, 

Would  make  such  fearful  and  confused  cries, 

As  any  mortal  body  hearing  it 

Should  straight  fall  mad,  or  else  die  suddenly. 

No  sooner  had  they  told  this  hellish  tale, 

But  straight  they  told  me  they  would  bind  me  here 

Unto  the  body  of  a  dismal  yew. 

And  leave  me  to  this  miserable  death : 

And  then  they  call'd  me  foul  adulteress. 

Lascivious  Goth,  and  all  the  bitterest  terms  no 

That  ever  ear  did  hear  to  such  effect : 

And,  had  you  not  by  wondrous  fortune  come, 

This  vengeance  on  me  had  they  executed. 

Revenge  it,  as  you  love  your  mother's  life, 

Or  be  ye  not  henceforth  call'd  my  children. 

Dem.  This  is  a  witness  that  I  am  thy  son. 

[Stabs  Bassianus, 

Chi.  And  this  for  me,  struck  home  to  show  my  strength. 

[Also  stabs  Bassianus,  zvho  dies. 

Lav.  Ay,  come,  Semiramis,.nay,  barbarous  Tamora, 

For  no  name  fits  thy  nature  but  thy  own  !  1 19 

Tarn.  Give  me  the  poniard  ;  you  shall  know,  my  boys, 
Your  mother's  hand  shall  right  your  mother's  wrong. 

Dem.  Stay,  madam ;  here  is  more  belongs  to  her ; 
First  thrash  the  com,  then  after  burn  the  straw  ; 
This  minion  stood  upon  her  chastity. 
Upon  her  nuptial  vow,  her  loyalty, 
And  with  that  painted  hope  braves  your  mightiness : 
And  shall  she  carry  this  unto  her  grave  ? 

Chi.  An  if  she  do,  I  would  I  were  an  eunuch. 

44 


TITUS  ANDRONICUS  Act  II.  Sc.  iii. 

Drag  hence  her  husband  to  some  secret  hole, 

And  make  his  dead  trunk  pillow  to  our  lust.  130 

Tarn.  But  when  ye  have  the  honey  ye  desire, 
Let  not  this  wasp  outlive,  us  both  to  sting. 

Chi.  I  warrant  you,  madam,  we  will  make  that  sure. 
Come,  mistress,  now  perforce  we  will  enjoy 
That  nice-preserved  honesty  of  yours. 

Lav.  O  Tamora !  thou  bear'st  a  woman's  face — 

Tarn.  I  will  not  hear  her  speak  ;  away  with  her ! 

Lav.  Sweet  lords,  entreat  her  hear  me  but  a  word. 

Dem.  Listen,  fair  madam  :  let  it  be  your  glory 

To  see  her  tears,  but  be  your  heart  to  them  140 

As  unrelenting  flint  to  drops  of  rain. 

Lav.  When  did  the  tiger's  young  ones  teach  the  dam  ? 
O,  do  not  learn  her  wrath ;  she  taught  it  thee ; 
The  milk  thou  suck'dst  from  her  did  turn  to  marble ; 
Even  at  thy  teat  thou  hadst  thy  tyranny. 
Yet  every  mother  breeds  not  sons  alike : 
[To  Chiron^  Do  thou  entreat  her  show  a  woman  pity. 

ChL  What,  wouldst  thou  have  me  prove  myself  a  bastard  ? 

Lav.  'Tis  true  ;  the  raven  doth  not  hatch  a  lark : 

Yet  have  I  heard, — O,  could  I  find  it  now  ! —         150 
The  lion,  moved  with  pity,  did  endure 
To  have  his  princely  paws  pared  all  away : 
Some  say  that  ravens  foster  forlorn  children, 
The  whilst  their  own  birds  famish  in  their  nests : 
O,  be  to  me,  though  thy  hard  heart  say  no, 
Nothing  so  kind,  but  something  pitiful ! 

Tam.  I  know  not  what  it  means  :  away  with  her ! 

Lav.  O,  let  me  teach  thee !  for  my  father's  sake, 

That  gave  thee  life,  when  well  he  might  have  slain 
thee, 

45 


Act  II.  Sc.  iii.  THE  TRAGEDY  OF 

Be  not  obdurate,  open  thy  deaf  ears. 
Tain.  Hadst  thou  in  person  ne'er  offended  me, 

Even  for  his  sake  am  I  pitiless. 

Remember,  boys,  I  pour'd  forth  tears  in  vain, 

To  save  your  brother  from  the  sacrifice ; 

But  fierce  Andronicus  would  not  relent : 

Therefore,  away  with  her,  and  use  her  as  you  will ; 

The  worse  to  her,  the  better  loved  of  me. 
Laz:  O  Tamora,  be  call'd  a  gentle  queen, 

And  with  thine  own  hands  kill  me  in  this  place ! 

For  'tis  not  life  that  I  have  begg'd  so  long ;  170 

Poor  I  was  slain  when  Bassianus  died. 
Tain.  What  begg'st  thou  then  ?  fond  woman,  let  me  go. 
Lav.  'Tis  present  death  I  beg ;  and  one  thing  more 

That  womanhood  denies  my  tongue  to  tell : 

O,  keep  me  from  their  worse  than  killing  lust, 

And  tumble  me  into  some  loathsome  pit, 

AMiere  never  man's  eye  may  behold  my  body : 

Do  this,  and  be  a  charitable  murderer. 
Tain.  So  should  I  rob  my  sweet  sons  of  their  fee : 

No,  let  them  satisfy  their  lust  on  thee.  180 

Dcni.  Away !   for  thou  hast  stay'd  us  here  too  long. 
Lav.  No  grace  ?  no  womanhood  ?     Ah,  beastly  creature  ! 

The  blot  and  enemy  to  our  general  name ! 

Confusion  fall — 
CJii.  Nay,  then  I  '11  stop  your  mouth.     Bring  thou  her 
husband : 

This  is  the  hole  where  Aaron  bid  us  hide  him. 

[Demetrius  throzvs  the  body  of  Bassianus 
into  the  pit;  then  exeunt  Demetrius 
and  Chiron,  dragging  off  Lavinia. 
Tain.  Farewell,  my  sons ;  see  that  you  make  her  sure. 

46 


TITUS  ANDRONICUS  Act  II.  Sc.  iii. 

Ne'er  let  my  heart  know  merry  cheer  indeed, 
Till  all  the  Andronici  be  made  away. 
Now  will  I  hence  to  seek  my  lovely  Moor,  190 

And  let  my  spleenful  sons  this  trull  deflower.     [Exit. 

Re-enter  Aaron,  zvith  Quiiitiis  and  Martins. 

Aar.  Come  on,  my  lords,  the  better  foot  before  : 
Straight  will  I  bring  you  to  the  loathsome  pit 
Where  I  espied  the  panther  fast  asleep. 

Quin.  My  sight  is  very  dull,  whate'er  it  bodes. 

Mart.  And  mine,  I  promise  you  ;  were  it  not  for  shame, 
Well  could  I  leave  our  sport  to  sleep  awhile. 

[Falls  into  the  pit. 

Quin.  What,  art  thou  fall'n  ?    What  subtle  hole  is  this. 
Whose  mouth  is  cover'd  with  rude-growing  briers, 
Upon  whose  leaves  are  drops  of  new-shed  blood  200 
As  fresh  as  morning  dew  distill'd  on  flowers  ? 
A  very  fatal  place  it  seems  to  me. 
Speak,  brother,  hast  thou  hurt  thee  with  the  fall  ? 

Mart.  O  brother,  with  the  dismal'st  object  hurt 
That  ever  eye  with  sight  made  heart  lament ! 

Aar.    [Aside^    Now  will  I   fetch  the  king  to  find  them 
here, 
That  he  thereby  may  have  a  likely  guess 
How  these  were  they  that  made  away  his  brother. 

[Exit. 

Mart.  Why  dost  not  comfort  me,  and  help  me  out 

From  this  unhallow'd  and  blood-stained  hole?        210 

Quin.  I  am  surprised  with  an  uncouth  fear ; 

A  chilling  sweat  o'er-runs  my  trembling  joints ; 
My  heart  suspects  more  than  mine  eye  can  see. 

Mart.  To  prove  thou  hast  a  true-divining  heart, 

47 


Act  II.  Sc.  iii.  THE  TRAGEDY  OF 

Aaron  and  thou  look  down  into  this  den, 
And  see  a  fearful  sight  of  blood  and  death. 

Qiiin.  Aaron  is  gone;   and  my  compassionate  heart 
Will  not  permit  mine  eyes  once  to  behold 
The  thing  whereat  it  trembles  by  surmise : 
O,  tell  me  how  it  is  ;   for  ne'er  till  now  220 

Was  I  a  child  to  fear  I  know  not  what. 

Mart.  Lord  Bassianus  lies  embrewed  here, 
All  on  a  heap,  like  to  a  slaughter'd  lamb. 
In  this  detested,  dark,  blood-drinking  pit. 

Quill.   If  it  be  dark,  how  dost  thou  know  'tis  he? 

Mart.  Upon  his  bloody  finger  he  doth  wear 
A  precious  ring,  that  lightens  all  the  hole, 
Which,  like  a  taper  in  some  monument. 
Doth  shine  upon  the  dead  man's  earthy  cheeks. 
And  shows  the  ragged  entrails  of  the  pit :  230 

So  pale  did  shine  the  moon  on  Pyramus 
When  he  by  night  lay  bathed  in  maiden  blood. 

0  brother,  help  me  with  thy  fainting  hand — 
If  fear  hath  made  thee  faint,  as  me  it  hath — 
Out  of  this  fell  devouring  receptacle, 

As  hateful  as  Cocytus'  misty  mouth. 
Qnin.  Reach  me  thy  hand,  that  I  may  help  thee  out ; 
Or,  w^anting  strength  to  do  thee  so  much  good, 

1  may  be  pluck'd  into  the  swallowing  womb 

Of  this  deep  pit,  poor  Bassianus'  grave.  240 

I  have  no  strength  to  pluck  thee  to  the  brink. 
Mart.  Nor  I  no  strength  to  climb  without  thy  help. 
Quill.  Thy  hand  once  more ;  I  will  not  loose  again, 
"         Till  thou  art  here  aloft,  or  I  below : 

Thou  canst  not  come  to  me  :  I  come  to  thee. 

[Falls  in. 

48 


TITUS  ANDRONICUS  Act  II.  Sc.  iii. 

Enter  Saturnimis  zvith  Aaron. 

Sat.  Along  with  me :    I  '11  see  what  hole  is  here, 

And  what  he  is  that  now  is  leap'cl  into  it. 

Say,  who  art  thou  that  lately  didst  descend 

Into  this  gaping  hollow  of  the  earth? 
Mart.  The  unhappy  son  of  old  Andronicus ;  250 

Brought  hither  in  a  most  unlucky  hour, 

To  find  thy  brother  Bassianus  dead. 
Sat.  My  brother  dead  !   I  know  thou  dost  but  jest : 

He  and  his  lady  both  are  at  the  lodge 

Upon  the  north  side  of  this  pleasant  chase ; 

Tis  not  an  hour  since  I  left  them  there. 
Mart.  Wq  know  not  where  you  left  them  all  alive ; 

But,  out,  alas !   here  have  we  found  him  dead. 

Re-enter  Tamora,  zvith  Attendants ;    Titus  Andronicus, 
and  Lucius. 

Tarn.  Where  is  my  lord  the  king? 

Sat.  Here,  Tamora ;  though  grieved  with  killing  grief. 

Tarn.  Where  is  thy  brother  Bassianus  ?  261 

Sat.  Now  to  the  bottom  dost  thou  search  my  wound  : 
Poor  Bassianus  here  lies  murdered. 

Tarn.  [  Giving  a  letter]  Then  all  too  late  I  bring  this  fatal  writ, 
The  complot  of  this  timeless  tragedy ; 
And  wonder  greatly  that  man's  face  can  fold 
In  pleasing  smiles  such  murderous  tyranny. 

Sat.    [Reads]   '  An  if  we  miss  to  meet  him  handsomely — 
Sweet  huntsman,  Bassianus  'tis  we  mean — 
Do  thou  so  much  as  dig  the  grave  for  him :  270 

Thou  know'st  our  meaning.     Look  for  thy  reward 
Among  the  nettles  at  the  elder-tree. 
Which  overshades  the  mouth  of  that  same  pit 

49 


Act  II.  Sc.  iii.  THE  TRAGEDY  OF 

Where  we  decreed  to  bury  Bassianiis. 

Do  this  and  purchase  us  thy  lasting  friends.' 

0  Tamora !   was  ever  heard  the  Hke  ? 
This  is  the  pit,  and  this  the  elder-tree. 
Look,  sirs,  if  you  can  find  the  huntsman  out 
That  should  have  murder'd  Bassianus  here. 

Aar.   j\ly  gracious  lord,  here  is  the  bag  of  gold.  280 

Sat.    [To  Titns]   Two  of  thy  whelps,  fell  curs  of  bloody 
kind, 
Have  here  bereft  my  brother  of  his  life. 
Sirs,  drag  them  from  the  pit  unto  the  prison  : 
There  let  them  bide  until  we  have  devised 
Some  never-heard-of  torturing  pain  for  them. 

Tani.  What,  are  they  in  this  pit?     O  wondrous  thing! 
How  easily  murder  is  discovered ! 

Tit.  High  emperor,  upon  my  feeble  knee 

1  beg  this  boon,  with  tears  not  lightly  shed, 

That  this  fell  fault  of  my  accursed  sons,  290 

Accursed,  if  the  fault  be  proved  in  them — 

Sat.  If  it  be  proved !  you  see  it  is  apparent. 

Who  found  this  letter?     Tamora,  was  it  you? 

Tarn.  Andronicus  himself  did  take  it  up. 

Tit.  I  did,  my  lord :   yet  let  me  be  their  bail ; 
For,  by  my  fathers'  reverend  tomb,  I  vow 
They  shall  be  ready  at  your  highness'  will, 
To  answer  their  suspicion  with  their  lives. 

Sat.  Thou  shalt  not  bail  them :   see  thou  follow  me. 

Some  bring  the  murder'd  body,  some  the  murderers : 
Let  them  not  speak  a  word  ;  the  guilt  is  plain  ;      301 
For,  by  my  soul,  were  there  worse  end  than  death, 
That  end  upon  them  should  be  executed. 

Tarn.  Andronicus,  I  will  entreat  the  king : 

SO 


TITUS  ANDRONICUS  Act  II.  Sc.  iv. 

Fear  not  thy  sons ;   they  shall  do  well  enough. 
Tit.  Come,  Lucius,  come ;   stay  not  to  talk  with  them. 

[Exeunt. 

Scene  IV. 

Another  part  of  the  forest. 

Enter  Demetrius  and  Chiron,  zvith  Lavinia,  ravished; 
her  hands  cut  oif,  and  her  tongue  cut  out. 

Dcni.  So,  now  go  tell,  an  if  thy  tongue  can  speak, 
Who  'twas  that  cut  thy  tongue  and  ravish'd  thee. 

Chi.  Write  down  thy  mind,  bewray  thy  meaning  so, 
An  if  thy  stumps  will  let  thee  play  the  scribe. 

Dent.  See,  how  with  signs  and  tokens  she  can  scrowl. 

CJii.  Go  home,  call  for  sweet  water,  wash  thy  hands. 

Dcin.  She  hath  no  tongue  to  call,  nor  hands  to  wash ; 
And  so  let 's  leave  her  to  her  silent  walks. 

Chi.  An  'twere  my  case,  I  should  go  hang  myself. 

Deui.  If  thou  hadst  hands  to  help  thee  knit  the  cord.     lo 

[Exeunt  Demetrius  and  Chiron. 

Horns  zvinded  zvithin.     Enter  Marcus  from  hunting. 

Mar.  Who  is  this  ?  my  niece,  that  flies  away  so  fast ! 
Cousin,  a  word  ;   where  is  your  husband  ? 
If  I  do  dream,  would  all  my  wealth  would  wake  me ! 
If  I  do  wake,  some  planet  strike  me  down, 
That  I  may  slumber  in  eternal  sleep ! 
Speak,  gentle  niece,  what  stern  ungentle  hands 
]  lave  lopp'd  and  hewM  and  made  thy  body  bare 
Of  her  two  branches,  those  sweet  ornaments. 
Whose  circling  shadows  kings  have  sought  to  sleep  in, 
And  might  not  gain  so  great  a  happiness  20 

51 


Act  II.  Sc.  iv.  THE  TRAGEDY  OF 

As  have  thy  love  ?    Why  dost  not  speak  to  me  ? 

Alas,  a  crimson  river  of  warm  blood, 

Like  to  a  bubbling  fountain  stirr'd  with  wind,  ■ 

Doth  rise  and  fall  between  thy  rosed  lips, 

Coming  and  going  wath  thy  honey  breath . 

But,  sure,  some  Tereus  hath  deflowered  thee, 

And,  lest  thou  shouldst  detect  him,  cut  thy  tongue. 

Ah,  now  thou  turn'st  away  thy  face  for  shame ! 

And,  notwithstanding  all  this  loss  of  blood, 

As  from  a  conduit  with  three  issuing  spouts,  30 

Yet  do  thy  cheeks  look  red  as  Titan's  face 

Blushing  to  be  encounter'd  with  a  cloud. 

Shall  I  speak  for  thee  ?  shall  I  say  'tis  so  ? 

O,  that  I  knew  thy  heart ;  and  knew  the  beast, 

That  I  might  rail  at  him,  to  ease  my  mind ! 

Sorrow  concealed,  like  an  oven  stopp'd, 

Doth  burn  the  heart  to  cinders  where  it  is. 

Fair  Philomel,  why  she  but  lost  her  tongue. 

And  in  a  tedious  sampler  sew'd  her  mind : 

But,  lovely  niece,  that  mean  is  cut  from  thee ;  40 

A  craftier  Tereus,  cousin,  hast  thou  met. 

And  he  hath  cut  those  pretty  fingers  oiT, 

That  could  have  better  sew'd  than  Philomel. 

O,  had  the  monster  seen  those  lily  hands 

Tremble,  like  aspen-leaves,  upon  a  lute. 

And  make  the  silken  strings  delight  to  kiss  them. 

He  would  not  then  have  touch'd  them  for  his  life ! 

Or,  had  he  heard  the  heavenly  harmony 

Which  that  sweet  tongue  hath  made, 

He  would  have  dropp'd  his  knife,  and  fell  asleep     50 

As  Cerberus  at  the  Thracian  poet's  feet. 

Come,  let  us  go  and  make  thy  father  blind ; 

52 


TITUS  ANDRONICUS  Act  III.  Sc.  i. 

For  such  a  sight  will  blind  a  father's  eye : 

One  hour's  storm  will  drown  the  fragrant  meads ; 

What  will  whole  months  of  tears  thy  father's  eyes? 

Do  not  draw  back,  for  we  will  mourn  with  thee : 

O,  could  our  mourning  ease  thy  misery  !         [Exeunt. 

ACT  THIRD. 
Scene  I. 

Rome.    A  street. 

Enter  Judges,  Senators,  and  Tribunes,  with  Martins  and 
Quintiis,  hound,  passing  on  to  the  place  of  execution; 
Titus  going  before,  pleading. 

Tit.  Hear  me,  grave  fathers  !  noble  tribunes,  stay ! 
For  pity  of  mine  age,  whose  youth  was  spent 
In  dangerous  wars,  whilst  you  securely  slept; 
For  all  my  blood  in  Rome's  great  quarrel  shed ; 
For  all  the  frosty  nights  that  I  have  watch'd ; 
And  for  these  bitter  tears,  which  now  you  see 
Filling  the  aged  wrinkles  in  my  cheeks ; 
Be  pitiful  to  my  condemned  sons. 
Whose  souls  are  not  corrupted  as  'tis  thought. 
For  two  and  twenty  sons  I  never  wept,  lo 

Because  they  died  in  honour's  lofty  bed. 
[Lieth  doiiii;  the  Judges, &c.  pass  by  him,  and  Exeunt, 
For  these,  tribunes,  in  the  dust  I  write 
My  heart's  deep  languor  and  my  soul's  sad  tears  : 
Let  my  tears  stanch  the  earth's  dry  appetite  ; 
My    son's    sweet    blood    will    make    it    shame    and 

blush. 
O  earth,  I  will  befriend  thee  more  with  rain, 

53 


Act  III.  Sc.  i.  THE  TRAGEDY  OF 

That  shall  distil  from  these  two  ancient  urns, 

Than  youthful  April  shall  with  all  his  showers : 

In  summer's  drought  I  '11  drop  upon  thee  still ; 

In  winter  with  warm  tears  I  '11  melt  the  snow,  20 

And  keep  eternal  spring-time  on  thy  face, 

So  thou  refuse  to  drink  my  dear  sons'  blood. 

Enter  Lucius,  ivitJi  his  zveapon  drauii. 

O  reverend  tribunes  !  O  gentle,  aged  men  ! 

Unbind  my  sons,  reverse  the  doom  of  death ; 

And  let  me  say,  that  never  wept  before, 

jMy  tears  are  now  prevailing  orators. 
Lxic.  O  noble  father,  you  lament  in  vain  : 

The  tribunes  hear  you  not ;  no  man  is  by ; 

And  you  recount  your  sorrows  to  a  stone. 
Tit.  Ah,  Lucius,  for  thy  brothers  let  me  plead.  30 

Grave  tribunes,  once  more  I  entreat  of  you, — 
Luc.  My  gracious  lord,  no  tribune  hears  you  speak. 
Tit.  Why,  'tis  no  matter,  man  :  if  they  did  hear. 

They  w^ould  not  mark  me  ;  or  if  they  did  mark, 

They  would  not  pity  me  ;  yet  plead  I  must, 

And  bootless  unto  them 

Therefore  I  tell  my  sorrows  to  the  stones  ; 

Who,  though  they  cannot  answer  my  distress. 

Yet  in  some  sort  they  are  better  than  the  tribunes. 

For  that  they  will  not  intercept  my  tale :  40 

When  I  do  weep,  they  humbly  at  my  feet 

Receive  my  tears,  and  seem  to  weep  with  me  ; 

And,  were  they  but  attired  in  grave  weeds, 

Rome  could  afford  no  tribune  like  to  these. 

A  stone  is  soft  as  wax,  tribunes  more  hard  than  stones  : 

A  stone  is  silent  and  ofifendeth  not, 

54 


TITUS  ANDRONICUS  Act  III.  Sc.  i. 

And  tribunes  with  their  tongues  doom  men  to  death. 

[Rises. 

But  wherefore  stand'st  thou  with  thy  weapon  drawn  ? 
Luc.  To  rescue  my  two  brothers  from  their  death: 

For  which  attempt  the  judges  have  pronounced        50 

My  everlasting  doom  of  banishment. 
Tit.  O  happy  man !   they  have  befriended  thee. 

Why,  fooHsh  Lucius,  dost  thou  not  perceive 

That  Rome  is  but  a  wilderness  of  tigers? 

Tigers  must  prey,  and  Rome  affords  no  prey 

But  me  and  mine :   how  happy  art  thou  then. 

From  these  devourers  to  be  banished ! 

But  who  comes  with  our  brother  Marcus  here? 

Enter  Marcus  and  Lavinia. 

Marc.  Titus,  prepare  thy  aged  eyes  to  weep ; 

Or,  if  not  so,  thy  noble  heart  to  break :  60 

I  bring  consuming  sorrow  to  thine  age. 

Tit.  Will  it  consume  me?  let  me  see  it  then. 

Marc.  This  was  thy  daughter. 

Tit.  ^^  hy,  Marcus,  so  she  is. 

Luc.  Ay  me,  this  object  kills  me! 

Tit.  Faint-hearted  boy,  arise,  and  look  upon  her. 
Speak,  Lavinia,  what  accursed  hand 
Hath  made  thee  handless  in  thy  father's  sight? 
What  fool  hath  added  water  to  the  sea, 
Or  brought  a  faggot  to  bright-burning  Troy? 
My  grief  was  at  the  height  before  thou  camest ;      70 
And  now,  like  Nilus,  it  disdaineth  bounds. 
Give  me  a  sword,  1  '11  chop  off  my  hands  too  ; 
For  they  have  fought  for  Rome,  and  all  in  vain  ; 
And  they  have  nursed  this  woe,  in  feeding  life ; 


Act  III.Sc.  i.  THE  TRAGEDY  OF 

In  bootless  prayer  have  they  been  held  up, 

And  they  have  served  me  to  effectless  use : 

Now  all  the  service  I  require  of  them 

Is,  that  the  one  will  help  to  cut  the  other. 

'Tis  well,  Lavinia,  that  thou  hast  no  hands ; 

For  hands  to  do  Rome  service  is  but  vain.  80 

Luc.  Speak,  gentle  sister,  who  hath  martyr'd  thee? 

Marc.  O,  that  delightful  engine  of  her  thoughts, 

That  blabb'd  them  with  such  pleasing  eloquence. 
Is  torn  from  forth  that  pretty  hollow  cage, 
Where,  like  a  sweet  melodious  bird,  it  sung 
Sweet  varied  notes,  enchanting  every  ear ! 

Luc.  O,  say  thou  for  her,  who  hath  done  this  deed  ? 

Marc.  O,  thus  I  found  her,  straying  in  the  park. 
Seeking  to  hide  herself,  as  doth  the  deer 
That  hath  received  some  unrecuring  wound.  90 

Tit.  It  was  my  dear ;   and  he  that  wounded  her 

Hath  hurt  me  more  than  had  he  kill'd  me  dead : 

For  now  I  stand  as  one  upon  a  rock, 

Environed  with  a  wilderness  of  sea; 

Who  marks  the  waxing  tide  grow  wave  by  wave, 

Expecting  ever  when  some  envious  surge 

Will  in  his  brinish  bowels  swallow  him. 

This  way  to  death  my  wretched  sons  are  gone ; 

Here  stands  my  other  son,  a  banish'd  man ; 

And  here  my  brother,  weeping  at  my  woes  :  100 

But  that  which  gives  my  soul  the  greatest  spurn, 

Is  dear  Lavinia,  dearer  than  my  soul. 

Had  I  but  seen  thy  picture  in  this  plight, 

It  would  have  madded  me :  what  shall  I  do, 

Now  I  behold  thy  lively  body  so  ? 

Thou  hast  no  hands,  to  wipe  away  thy  tears ; 

56 


TITUS  ANDRONICUS  Act  III.  Sc.  i. 

Nor  tongue,  to  tell  me  who  hath  martyr'd  thee : 
Thy  husband  he  is  dead ;  and  for  his  death 
Thy  brothers  are  condemn'd,  and  dead  by  this. 
Look,  :Marcus!  ah,  son  Lucius,  look  on  her!  no 

When  I  did  name  her  brothers,  then  fresh  tears 
Stood  on  her  cheeks,  as  doth  the  honey-dew 
Upon  a  gathered  lily  almost  wither'd. 

Marc.  Perchance    she    weeps    because    they    kill'd    her 
husband ; 
Perchance  because  she  knows  them  innocent. 

Tit.  If  they  did  kill  thy  husband,  then  be  joyful, 
Because  the  law  hath  ta'en  revenge  on  them. 
No,  no,  they  would  not  do  so  foul  a  deed ; 
Witness  the  sorrow  that  their  sister  makes. 
Gentle  Lavinia,  let  me  kiss  thy  lips ;  120 

Or  make  some  sign  how  I  may  do  thee  ease  : 
Shall  thy  good  uncle,  and  thy  brother  Lucius, 
And  thou,  and  I,  sit  round  about  some  fountain, 
Looking  all  downwards,  to  behold  our  cheeks 
How  they  are  stain'd,  as  meadows  yet  not  dry 
With  miry  slime  left  on  them  by  a  flood  ? 
And  in  the  fountain  shall  we  gaze  so  long 
Till  the  fresh  taste  be  taken  from  that  clearness. 
And  made  a  brine-pit  with  our  bitter  tears  ? 
Or  shall  we  cut  away  our  hands,  like  thine?  130 

Or  shall  we  bite  our  tongues,  and  in  dumb  shows 
Pass  the  remainder  of  our  hateful  days  ? 
What  shall  we  do?  let  us,  that  have  our  tongues, 
Plot  some  device  of  further  misery. 
To  make  us  wonder'd  at  in  time  to  come. 

Luc.  Sweet  father,  cease  your  tears  ;  for,  at  your  grief, 
See  how  mv  wretched  sister  sobs  and  weeps. 


57 


Act  III.  Sc.  i.  THE  TRAGEDY  OF 

Marc.  Patience,  dear  niece.     Good  Titus,  dry  thine  eyes. 

Tit.  Ah,  Marcus,  INIarcus !  brother,  well  I  wot 

Thy  napkin  cannot  drink  a  tear  of  mine,  140 

For  thou,  poor  man,  hast  drown'd  it  with  thine  own. 

Luc.  Ah,  my  Lavinia,  I  will  wipe  thy  cheeks. 

Tit.  Mark,  Marcus,  mark !    I  understand  her  signs : 
Had  she  a  tongue  to  speak,  now  would  she  say 
That  to  her  brother  which  I  said  to  thee : 
His  napkin,  with  his  true  tears  all  bewet, 
Can  do  no  service  on  her  sorrowful  cheeks. 
O,  what  a  sympathy  of  woe  is  this. 
As  far  from  help  as  Limbo  is  from  bliss ! 

Enter  Aaron. 

Aar.  Titus  Andronicus,  my  lord  the  emperor  150 

Sends  thee  this  word,  that,  if  thou  love  thy  sons, 
Let  Marcus,  Lucius,  or  thyself,  old  Titus, 
Or  any  one  of  you,  chop  off  your  hand. 
And  send  it  to  the  king  :  he  for  the  same 
Will  send  thee  hither  both  thy  sons  alive ; 
And  that  shall  be  the  ransom  for  their  fault. 

Tit.  O  gracious  emperor !     O  gentle  Aaron ! 
Did  ever  raven  sing  so  like  a  lark, 
That  gives  sweet  tidings  of  the  sun's  uprise  ? 
With  all  my  heart,  I  '11  send  the  emperor  160 

]\Iy  hand : 
Good  Aaron,  wilt  thou  help  to  chop  it  ofif? 

L\ic.  Stay,  father!   for  that  noble  hand  of  thine 
That  hath  thrown  down  so  many  enemies, 
Shall  not  be  sent :  my  hand  will  serve  the  turn : 
My  youth  can  better  spare  my  blood  than  you ; 
And  therefore  mine  shall  save  my  brothers'  lives. 

58 


TITUS  ANDRONICUS  Act  III.  Sc.  i. 

Marc.  Which  of  your  hands  hath  not  defended  Rome, 
And  rear'd  aloft  the  bloody  battle-axe, 
Writing  destruction  on  the  enemy's  castle?  170 

O,  none  of  both  but  are  of  high  desert : 
j\Iy  hand  hath  been  but  idle ;   let  it  serve 
To  ransom  my  two  nephews  from  their  death ; 
Then  have  I  kept  it  to  a  worthy  end. 

Aar.  Nay,  come,  agree  whose  hand  shall  go  along, 
For  fear  they  die  before  their  pardon  come. 

Marc.  ]\Iy  hand  shall  go. 

Luc.  By  heaven,  it  shall  not  go ! 

Tit.  Sirs,  strive  no  more :   such  wither'd  herbs  as  these 
Are  meet  for  plucking  up,  and  therefore  mine. 

Luc.  Sweet  father,  if  I  shall  be  thought  thy  son,  180 

Let  me  redeem  my  brothers  both  from  death. 

Marc.  And,  for  our  father's  sake  and  mother's  care, 
Now  let  me  show  a  brother's  love  to  thee. 

Tit.  Agree  between  you ;  I  will  spare  my  hand. 

Lite.  Then  I  '11  go  fetch  an  axe. 

Marc.  But  I  will  use  the  axe. 

[Exeunt  Lucius  and  Marcus. 

Tit.  Come  hither,  Aaron  ;   I  'II  deceive  them  both  : 
Lend  me  thy  hand,  and  I  will  give  thee  mine. 

Aar.  [Aside']  If  that  be  call'd  deceit,  I  will  be  honest. 

And  never,  whilst  I  live,  deceive  men  so :  190 

But  I  '11  deceive  you  in  another  sort. 

And  that  you  '11  say,  ere  half  an  hour  pass. 

[Cuts  off  Titus's  hand. 

Re-enter  Lucius  and  Marcus. 

Tit.  Now  stay  your  strife :   what  shall  be  is  dispatch'd. 
Good  x\aron,  give  his  majesty  my  hand: 

.59 


Act  III.  Sc.  i.  THE  TRAGEDY  OF 

Tell  him  it  was  a  hand  that  warded  him 

From  thousand  dangers  ;  bid  him  bury  it ; 

More  hath  it  merited  ;  that  let  it  have. 

As  for  my  sons,  say  I  account  of  them 

As  jewels  purchased  at  an  easy  price ; 

And  yet  dear  too,  because  I  bought  mine  own.     200 
Aar.  I  go,  Andronicus :   and  for  thy  hand 

Look  by  and  by  to  have  thy  sons  with  thee. 

[Aside]  Their  heads,  I  mean.     O,  how  this  villany 

Doth  fat  me  with  the  very  thoughts  of  it ! 

Let  fools  do  good,  and  fair  men  call  for  grace, 

Aaron  will  have  his  soul  black  like  his  face.       [Exit. 
Tit.  O,  here  I  lift  this  one  hand  up  to  heaven, 

And  bow  this  feeble  ruin  to  the  earth : 

If  any  power  pities  wretched  tears. 

To  that  I  call!   [To  Lav.]  What,  would  thou  kneel 
with  me?  210 

Do,   then,   dear  heart ;    for  heaven    shall   hear   our 
prayers ; 

Or  with  our  sighs  w^e  '11  breathe  the  welkin  dim, 

And  stain  the  sun  with  fog,  as  sometime  clouds 

When  they  do  hug  him  in  their  melting  bosoms. 
Marc.  O  brother,  speak  with  possibilities, 

And  do  not  break  into  these  deep  extremes. 
Tit,  Is  not  my  sorrow  deep,  having  no  bottom  ? 

Then  be  my  passions  bottomless  with  them . 
Marc.  But  yet  let  reason  govern  thy  lament. 
Tit.  If  there  were  reason  for  these  miseries,  220 

Then  into  limits  could  I  bind  my  woes : 

When  heaven  doth  weep,  doth  not  the  earth  o'erflow  ? 

If  the  winds  rage,  doth  not  the  sea  wax  mad, 

Threatening  the  welkin  with  his  big-swoln  face? 
60 


TITUS  ANDRONICUS  Act  III.  Sc.  i. 

And  wilt  thou  have  a  reason  for  this  coil? 
I  am  the  sea ;  hark,  how  her  sighs  do  blow ! 
She  is  the  weeping  welkin,  I  the  earth : 
Then  must  my  sea  be  moved  with  her  sighs ; 
Then  must  my  earth  with  her  continual  tears 
Become  a  deluge,  overflowed  and  drown'd :  230 

For  why  my  bowels  cannot  hide  her  woes, 
But  like  a  drunkard  must  I  vomit  them. 
Then  give  me  leave :   for  losers  will  have  leave 
To  ease  their  stomachs  with  their  bitter  tongues. 

Enter  a  Messenger  zvith  tzi'o  heads  and  a  hand. 

Mess,  Worthy  Andronicus,  ill  art  thou  repaid 
For  that  good  hand  thou  sent'st  the  emperor. 
Here  are  the  heads  of  thy  two  noble  sons ; 
And  here  's  thy  hand,  in  scorn  to  thee  sent  back, 
Thy  griefs  their  sports,  thy  resolution  mock'd : 
That  woe  is  me  to  think  upon  thy -woes,  240 

More  than  remembrance  of  my  father's  death. 

[Exit. 

Marc.  Now  let  hot  .F^tna  cool  in  Sicily, 
And  be  my  heart  an  ever-burning  hell ! 
These  miseries  are  more  than  may  be  borne. 
To  weep  with  them  that  weep  doth  ease  some  deal, 
But  sorrow  flouted  at  is  double  death. 

Liic.  Ah,  that  this  sight  should  make  so  deep  a  wound. 
And  yet  detested  life  not  shrink  thereat ! 
That  ever  death  should  let  life  bear  his  name,  * 
Where  life  hath  no  more  interest  but  to  breathe ! 

[Laz'inia  kisses  Titus. 

Marc.  Alas,  poor  heart!   that  kiss  is  comfortless  251 

As  frozen  water  to  a  starved  snake. 
61 


Act  III.  Sc.  i.  THE  TRAGEDY  OF 

Tit.  When  will  this  fearful  slumber  have  an  end? 

Marc.  Now,  farewell,  flattery:    die,  Andronicus; 

Thou  dost  not  slumber :  see,  thy  two  sons'  heads, 
Thy  warlike  hand,  thy  mangled  daughter  here, 
Thy  other  banish'd  son  with  this  dear  sight 
Struck  pale  and  bloodless,  and  thy  brother,  I, 
Even  like  a  stony  image,  cold  and  numb. 
Ah,  now  no  more  will  I  control  thy  griefs :  260 

Rend  off  thy  silver  hair,  thy  other  hand 
Gnawing  with  thy  teeth  ;  and  be  this  dismal  sight 
The  closing  up  of  our  most  wretched  eyes : 
Now  is  a  time  to  storm ;   why  art  thou  still  ? 

TiL  Ha,  ha,  ha ! 

Marc.  Why  dost  thou  laugh  ?  it  fits  not  with  this  hour. 

Tit.  Why,  I  have  not  another  tear  to  shed : 
Besides,  this  sorrow  is  an  enemy. 
And  would  usurp  upon  my  watery  eyes, 
And  make  them  blind  with  tributary  tears:         270 
Then  which  way  shall  I  find  Revenge's  cave  ? 
For  these  two  heads  do  seem  to  speak  to  me. 
And  threat  me  I  shall  never  come  to  bliss 
Till  all  these  mischiefs  be  return'd  again 
Even  in  their  throats  that  have  committed  them, 
Come,  let  me  see  what  task  I  have  to  do. 
You  heavy  people,  circle  me  about. 
That  I  may  turn  me  to  each  one  of  you, 
,  And  swear  unto  my  soul  to  right  your  wrongs. 
The  vow  is  made.     Come,  brother,  take  a  head ; 
And  in  this  hand  the  other  will  I  bear.  281 

Lavinia,  thou  shalt  be  employ'd  in  these  things : 
Bear  thou  my  hand,  sweet  wench,  between  thy  teeth. 
As  for  thee,  boy,  go  get  thee  from  my  sight; 
62 


TITUS  ANDRONICUS  Act  III.  Sc.  ii. 

Thou  art  an  exile,  and  thou  must  not  stay : 
Hie  to  the  Goths,  and  raise  an  army  there : 
And,  if  you  love  me,  as  I  think  you  do, 
Let 's  kiss  and  part,  for  we  have  much  to  do. 

[Exeunt  all  but  Lucius. 
Luc.  Farewell,  Andronicus,  my  noble  father, 

The  wofull'st  man  that  ever  lived  in  Rome :  290 

Farewell,  proud  Rome ;   till  Lucius  come  again, 

He  leaves  his  pledges  dearer  than  his  life : 

Farewell,  Lavinia,  my  noble  sister ; 

O,  would  thou  wert  as  thou  tofore  hast  been 

But  now  nor  Lucius  nor  Lavinia  lives 

But  in  oblivion  and  hateful  griefs. 

If  Lucius  live,  he  will  requite  your  wrongs ; 

And  make  proud  Saturnine  and  his  empress 

Beg  at  the  gates,  like  Tarquin  and  his  queen. 

Now  will  I  to  the  Goths  and  raise  a  power,  300 

To  be  revenged  on  Rome  and  Saturnine.  [Exit. 

Scene  II. 

A  room  in  Titus  s  house.     A  banquet  set  out. 

Enter  Titus,  Marcus,  Lavinia,  and  young  Lucius,  a  Boy. 

Tit.  So,  so ;  now  sit :   and  look  you  eat  no  more 
Than  will  preserve  just  so  much  strength  in  us 
As  will  revenge  these  bitter  woes  of  ours. 
Marcus,  unknit  that  sorrow-wreathen  knot : 
Thy  niece  and  I,  poor  creatures,  want  our  hands. 
And  cannot  passionate  our  tenfold  grief 
With  folded  arms.    This  poor  right  hand  of  mine 
Is  left  to  tyrannize  upon  my  breast ; 
Who,  when  my  heart,  all  mad  with  misery, 

63 


Act  III.  Sc.  ii.  THE  TRAGEDY  OF 

Beats  in  this  hollow  prison  of  my  flesh,  lo 

Then  thus  I  thump  it  down. 

[To  Laz'inia]    Thou  map  of  woe,  that  thus  dost  talk 

in  signs ! 
When  thy  poor  heart  beats  with  outrageous  beating, 
Thou  canst  not  strike  it  thus  to  make  it  still. 
Wound  it  with  sighing,  girl,  kill  it  with  groans ;     . 
Or  get  some  little  knife  between  thy  teeth, 
And  just  against  thy  heart  make  thou  a  hole; 
That  all  the  tears  that  thy  poor  eyes  let  fall 
A'lay  run  into  that  sink,  and  soaking  in 
Drown  the  lamenting  fool  in  sea-salt  tears.  20 

Marc.  Fie,  brother,  fie !   teach  her  not  thus  to  lay 
Such  violent  hands  upon  her  tender  life. 

Tit.  How  now !  has  sorrow  made  thee  dote  already  ? 
Why,  Marcus,  no  man  should  be  mad  but  I. 
What  violent  hands  can  she  lay  on  her  life? 
Ah,  wherefore  dost  thou  urge  the  name  of  hands ; 
To  bid  ^neas  tell  the  tale  twice  o'er. 
How  Troy  was  burnt  and  he  made  miserable  ? 
O,  handle  not  the  theme,  to  talk  of  hands. 
Lest  we  remember  still  that  we  have  none.  30 

Fie,  fie,  how  franticly  I  square  my  talk. 
As  if  we  should  forget  we  had  no  hands, 
If  Marcus  did  not  name  the  word  of  hands ! 
Come,  let 's  fall  to  ;  and,  gentle  girl,  eat  this  : 
Here  is  no  drink.    Hark,  Marcus,  what  she  says ; 
I  can  interpret  all  her  martyr'd  signs ; 
She  says  she  drinks  no  other  drink  but  tears, 
Brew"d  with  her  sorrow,  mesh'd  upon  her  cheeks: 
Speechless  complainer,  I  will  learn  thy  thought ; 
In  thy  dumb  action  will  I  be  as  perfect  40 

64 


TITUS  ANDRONICUS  Act  III.  Sc.  ii. 

As  begging  hermits  in  their  holy  prayers : 

Thou  shalt  not  sigh,  nor  hold  thy  stumps  to  heaven, 

Nor  wink,  nor  nod,  nor  kneel,  nor  make  a  sign,- 

But  I  of  these  will  w^est  an  alphabet, 

And  by  still  practice  learn  to  know  thy  meaning. 
Boy.  Good  grandsire,  leave  these  bitter  deep  laments : 

Make  my  aunt  merry  with  some  pleasing  tale. 
Marc.  Alas,  the  tender  boy,  in  passion  moved, 

Doth  weep  to  see  his  grandsire's  heaviness. 
Tit.  Peace,  tender  sapling;   thou  art  made  of^ tears,      50 

And  tears  will  quickly  melt  thy  life  away. 

[Marcus  strikes  the  dish  zuith  a  knife. 

What  dost  thou  strike  at,  Marcus,  with  thy  knife  ? 
Marc.  At  that  that  I  have  kill'd,  my  lord, — a  fly. 
Tit.  Out  on  thee,  murderer!   thou  kill'st  my  heart; 

Mine  eyes  are  cloy'd  with  view  of  tyranny: 

A  deed  of  death  done  on  the  innocent 

Becomes  not  Titus'  brother  :  get  thee  gone  ; 

I  see  thou  art  not  for  my  company. 
Marc.  Alas,  my  lord,  I  have  but  kill'd  a  fly. 
Tit.  '  But !  '     How,  if  that  fly  had  a  father  and  mother? 

How  would  he  hang  his  slender  gilded  wings,        61 

And  buzz  lamenting  doings  in  the  air ! 

Poor  harmless  fly. 

That,  with  his  pretty  buzzing  melody, 

Came  here  to  make  us  merry!    and  thou  hast  kill'd 
him. 
Marc.  Pardon  me,  sir ;  It  was  a  black  ill-favour'd  fly. 

Like  to  the  empress'  ]\Ioor;  therefore  I  kill'd  him. 
Tit.  O,  O,  O, 

Then  pardon  me  for  reprehending  thee, 

For  thou  hast  done  a  charitable  deed.  70 

65 


Act  IV.  Sc.  i.  THE  TRAGEDY  OF 

Give  me  thy  knife,  I  will  insult  on  him; 

Flatterincr  myself,  as  if  it  were  the  j\Ioor 

Come  hither  purposely  to  poison  me. 

There  's  for  thyself,  and  that 's  for  Tamora. 

Ah,  sirrah  ! 

Yet,  I  think,  we  are  not  brought  so  low. 

But  that  between  us  we  can  kill  a  fly 

That  comes  in  likeness  of  a  coal-black  Moor. 
Marc.  Alas,  poor  man  !  grief  has  so  wrought  on  him, 

He  tak£s  false  shadows  for  true  substances.  80 

Tit.  Come,  take  away.    Lavinia,  go  with  me : 

I  '11  to  thy  closet ;   and  go  read  with  thee 

Sad  stories  chanced  in  the  times  of  old. 

Come,  boy,  and  go  with  me :  thy  sight  is  young. 

And  thou  shalt  read  when  mine  begin  to  dazzle. 

[Exeunt. 

ACT  FOURTH. 
Scene  I. 

Rome.     Titus's  garden. 

Enter  young  Lucius  and  Lavinia  running  after  him,  and 
the  boy  flies  from  her,  zvith  his  books  under  his  arm. 
Then  enter  Titus  and  Marcus. 

Boy.  Help,  grandsire,  help !   my  aunt  Lavinia 
Follows  me  every  where,  I  know  not  why: 
Good  uncle  Marcus,  see  how  swift  she  comes. 
Alas,  sweet  aunt,  I  know  not  what  you  mean. 

Marc.  Stand  by  me,  Lucius ;   do  not  fear  thine  aunt. 

Tit.  She  loves  thee,  boy,  too  well  to  do  thee  harm. 

66 


TITUS  ANDRONICUS  Act  IV.  Sc.  i. 

Boy.  Ay,  when  my  father  was  in  Rome  she  did. 

Marc.  What  means  my  niece  Lavinia  by  these  signs  ? 

Tit.  Fear  her  not,  Lucius :    somewhat  doth  she  mean  : 
See,  Lucius,  see  how  much  she  makes  of  thee:         to 
Somewhither  would  she  have  thee  go  with  her. 
Ah,  boy,  Comeha  never  with  more  care 
Read  to  her  sons  than  she  hiath  read  to  thee 
Sweet  poetry  and  TuUy's  Orator. 

Marc.  Canst  thou  not  guess  wherefore  she  pHes  thee  thus  ? 

Boy.  My  lord,  I  know  not,  I,  nor  can  I  guess, 
Unless  some  fit  or  frenzy  do  possess  her : 
For  I  have  heard  my  grandsire  say  full  oft. 
Extremity  of  griefs  would  make  men  mad ; 
And  I  have  read  that  Hecuba  of  Troy  20 

Ran  mad  for  sorrow :   that  made  me  to  fear ; 
Although,  my  lord,  I  know  my  noble  aunt 
Loves  me  as  dear  as  e'er  my  mother  did, 
And  would  not,  but  in  fury,  fright  my  youth: 
Which  made  me  down  to  throw^  my  books  and  fly, 
Causeless  perhaps.    But,  pardon  me,  sweet  aunt : 
And,  madam,  if  my  uncle  Marcus  go, 
I  will  most  willingly  attend  your  ladyship. 

Marc.  Lucius,  I  will.  [Lavinia  turns  oz'cr  zvith 

her  stumps  the  books  zvhich  Lucius  Jias  let  fall. 

Tit.  How  now,  Lavinia!     Marcus,  what  means  this?    30 
Some  book  there  is  that  she  desires  to  see. 
Which  is  it,  girl,  of  these  ?     Open  them,  boy. 
But  thou  art  deeper  read,  and  better  skill'd : 
Come,  and  take  choice  of  all  my  library. 
And  so  beguile  thy  sorrow,  till  the  heavens 
Reveal  the  damn'd  contriver  of  this  deed. 
Why  lifts  she  up  her  arms  in  sequence  thus? 

67 


Act  IV.  Sc.  i.  THE  TRAGEDY  OF 

Marc.  I  think  she  means  that  there  were  more  than  one 
Confederate  in  the  fact ;   ay,  more  there  was ; 
Or  else  to  heaven  she  heaves  them  for  revenge.     40 

Tit.  Lucius,  what  book  is  that  she  tosseth  so? 

Boy.  Grandsire,  'tis  Ovid's  Metamorphoses : 
My  mother  gave  it  me. 

Marc.  For  love  of  her  that  's  gone, 

Perhaps  she  cull'd  it  from  among  the  rest. 

Tit.  Soft !  so  busily  she  turns  the  leaves  ! 
Help  her : 

What  would  she  find  ?    Lavinia,  shall  I  read  ? 
This  is  the  tragic  tale  of  Philomel, 
And  treats  of  Tereus'  treason  and  his  rape ; 
And  rape,  I  fear,  was  root  of  thine  annoy.  50 

Marc.  See,  brother,  see ;  note  how  she  quotes  the  leaves. 

Tit.  Lavinia,  wert  thou  thus  surprised,  sweet  girl, 
Ravish 'd  and  wrong'd,  as  Philomela  was. 
Forced  in  the  ruthless,  vast,  and  gloomy  woods  ? 
See,  see ! 

Ay,  such  a  place  there  is,  where  we  did  hunt, — 
O,  had  we  never,  never  hunted  there ! — 
Pattern 'd  by  that  the  poet  here  describes. 
By  nature  made  for  murders  and  for  rapes. 

Marc.  O,  why  should  nature  build  so  foul  a  den,  60 

Unless  the  gods  delight  in  tragedies  ? 

Tit.  Give  signs,  sweet  girl,  for  here  are  none  but  friends, 
What  Roman  lord  it  was  durst  do  the  deed : 
Or  slunk  not  Saturnine,  as  Tarquin  erst. 
That  left  the  camp  to  sin  in  Lucrece'  bed  ? 

Marc.  Sit  down,  sweet  niece :  brother,  sit  down  by  me. 
Apollo,  Pallas,  Jove,  or  Mercury, 
Inspire  me,  that  I  may  this  treason  find! 
68 


TITUS  ANDRONICUS  Act  IV.  Sc.  i. 

My  lord,  look  here :  look  here,  Lavinia : 
This  sandy  plot  is  plain ;   guide,  if  thou  canst,        70 
This  after  me.     [He  writes  his  name  zvith  his  staff, 
and  guides  it  with  feet  and  month.]      I  have  writ 
my  name 
Without  the  help  of  any  hand  at  all. 
Cursed  be  that  heart  that  forced  us  to  this  shift ! 
Write  thou,  good  niece ;  and  here  display  at  last 
What  God  will  have  discovered  for  revenge : 
Heaven  guide  thy  pen  to  print  thy  sorrows  plain. 
That  we  may  know  the  traitors  and  the  truth  ! 

[She  takes  the  staff  in  her  month,  and  guides 
it  with' her  stumps,  and  writes. 

Tit.  O,  do  ye  read,  my  lord,  what  she  hath  writ  ? 
'  Stuprum.    Chiron.    Demetrius.' 

Marc.  What,  what!   the  lustful  sons  of  Tamora  80 

Performers  of  this  heinous,  bloody  deed  ? 

Tit.  Magni  Dominator  poli, 

Tam  lentus  audis  scelera  ?  tam  lentus  vides  ? 

Marc.  O,  calm  thee,  gentle  lord ;   although  I  know 
There  is  enough  written  upon  this  earth 
To  stir  a  mutiny  in  the  mildest  thoughts. 
And  arm  the  minds  of  infants  to  exclaims. 
My  lord,  kneel  down  with  me ;  Lavinia,  kneel ; 
And  kneel,  sweet  boy,  the  Roman  Hector's  hope ; 
And  swear  with  me,  as,  with  the  woful  fere  90 

And  father  of  that  chaste  dishonour'd  dame, 
Lord  Junius  Brutus  sware  for  Lucrece'  rape, 
That  we  will  prosecute  by  good  advice 
Mortal  revenge  upon  these  traitorous  Goths, 
And  see  their  blood,  or  die  with  this  reproach. 

Tit.  'Tis  sure'  enough,  an  you  knew  how. 

69 


Act  IV.  Sc.  i.  THE  TRAGEDY  OF 

But  if  you  hunt  these  bear-whelps,  then  beware 

The  dam  will  wake  ;  and  if  she  wind  you  once, 

She  's  with  the  lion  deeply  still  in  league, 

And  lulls  him  whilst  she  playeth  on  her  back,       lOO 

And  when  he  sleeps  will  she  do  what  she  list. 

You  are  a  young  huntsman,  Marcus  ;   let  alone ; 

And,  come,  I  will  go  get  a  leaf  of  brass, 

And  with  a  gad  of  steel  will  write  these  words. 

And  lay  it  by :  the  angry  northern  wind 

\M11  blow  these  sands,  like  Sibyl's  leaves,  abroad. 

And  where  's  your  lesson  then  ?     Boy,  what  say  you  ? 

Boy.  I  say,  my  lord,  that  if  I  were  a  man, 

Their  mother's  bed-chamber  should  not  be  safe 

For  these  bad  bondmen  to  the  yoke  of  Rome.         no 

Marc.  Ay,  that 's  my  boy !   thy  father  hath  full  oft 
For  his  ungrateful  country  done  the  like. 

Boy.  And,  uncle,  so  will  I,  an  if  I  live. 

Tit.  Come,  go  with  me  into  mine  armoury ; 
Lucius,  I  '11  fit  thee,  and  withal,  my  boy 
Shall  carry  from  me  to  the  empress'  sons 
Presents  that  I  intend  to  send  them  both : 
Come,  come ;  thou  'It  do  thy  message,  wilt  thou  not  ? 

Boy.  Ay,  with  my  dagger  in  their  bosoms,  grandsire. 

Tit.  No,  boy,  not  so;   I  '11  teach  thee  another  course.   120 
Lavinia,  come.    Marcus,  look  to  my  house : 
Lucius  and  I  '11  go  brave  it  at  the  court ; 
Ay,  marry,  will  we,  sir ;  and  we  '11  be  waited  on. 

[Exeunt  Titus,  Laviuia,  and  young  Lucius. 

Marc.  O  heavens,  can  you  hear  a  good  man  groan, 
And  not  relent,  or  not  compassion  him  ? 
Marcus,  attend  him  in  his  ecstasy. 
That  hath  more  scars  of  sorrow  in  his  heart 
70 


TITUS  ANDRONICUS  Act  IV.  Sc.  ii. 

Than  foemen's  marks  upon  his  batter'd  shield, 

But  yet  so  just  that  he  will  not  revenge.  129 

Revenge,  ye  heavens,  for  old  Andronicus !       [Exit. 

Scene  II. 

The  same.     A  room  in  the  palace. 

Enter  Aaron,  Chiron,  and  Demetrius  at  one  door;  and  at 
another  door,  yonng  Lucius,  and  an  Attendant,  with  a 
bundle  of  zveapons,  and  verses  zurit  upon  them. 

Chi.  Demetrius,  here  's  the  son  of  Lucius ; 
He  hath  some  message  to  deliver  us. 

Aar.  Ay,  some  mad  message  from  his  mad  grandfather. 

Boy.  My  lords,  with  all  the  humbleness  I  may, 
I  greet  your  honours  from  Andronicus. 
[Aside]   And  prav  the  Roman  gods  confound  you 
both ! 

Dem.  Gramercy.  lovely  Lucius :   what 's  the  news  ? 

Boy.  [Aside]  That  you  are  both  decipher'd,  that's  the  news, 
For  villains  mark'd  with  rape. — ]\Iay  it  please  you, 
My  grandsire,  well  advised,  hath  sent  by  me  10 

The  goodliest  weapons  of  his  armoury 
To  gratify  your  honourable  youth, 
The  hope  of  Rome ;   for  so  he  bid  me  say ; 
And  so  1  do,  and  with  his  gifts  present 
Your  lordships,  that,  whenever  you  have  need. 
You  may  be  armed  and  appointed  well : 
And  so  I  leave  you  both,  [Aside]  like  bloody  villains. 
[Exeunt  Boy  and  Attendant. 

Dem.  What 's  here  ?  A  scroll,  and  written  round  about ! 
Let 's  see : 


Act  IV.  Sc.  ii.  THE  TRAGEDY  OF 

[Reads]     '  Integer  vitse,  scelerisque  piirus,  20 

Non  eget  Mauri  jaculis,  nee  arcu.' 

Chi.  O,  'tis  a  verse  in  Horace  ;   I  know  it  well : 
I  read  it  in  the  grammar  long  ago. 

Aar.  Ay,  just ;  a  verse  in  Horace  ;   right,  you  have  it. 
[Aside]  Now,  what  a  thing  it  is  to  be  an  ass! 
Here  's  no  sound  jest:  the  old  man  hath  found  their 

guilt, 
And  sends  them  weapons  wrapp'd  about  with  lines. 
That  wound,  beyond  their  feeling,  to  the  quick. 
But  were  our  witty  empress  well  afoot. 
She  would  applaud  Andronicus'  conceit :  30 

But  let  her  rest  in  her  unrest  awhile. — 
And  now,  young  lords,  was  't  not  a  happy  star 
Led  us  to  Rome,  strangers,  and  more  than  so, 
Captives,  to  be  advanced  to  this  height  ? 
It  did  me  good,  before  the  palace  gate 
To  brave  the  tribune  in  his  brother's  hearing. 

Dem.  But  me  more  good,  to  see  so  great  a  lord 
Basely  insinuate  and  send  us  gifts. 

Aar.  Had  he  not  reason.  Lord  Demetrius? 

Did  you  not  use  his  daughter  very  friendly  ?  40 

Dem.  I  would  we  had  a  thousand  Roman  dames 
At  such  a  bay,  by  turn  to  serve  our  lust. 

Chi.  A  charitable  wish  and  full  of  love. 

AaJ'.  Here  lacks  but  your  mother  for  to  say  amen. 

Chi.  And  that  would  she  for  twenty  thousand  more. 

Dem.  Come,  let  us  go,  and  pray  to  all  the  gods 
For  our  beloved  mother  in  her  pains. 

Aar.    [Aside]  Pray  to  the  devils  ;   the  gods  have  given  us 
over.  [Trumpets  soujid  zcithin. 

Dem.  Why  do  the  emperor's  trumpets  flourish  thus  ? 

72 


TITUS  ANDRONICUS  Act  IV.  Sc.  ii. 

Chi.   Belike,  for  joy  the  emperor  hath  a  son.  50 

Dem.  Soft !  who  comes  here  ? 

Enter  Nurse,  zvifJi  a  blackamoor  Child. 

JSfur.  Good  morrow,  lords : 

O,  tell  me,  did  you  see  Aaron  the  Moor? 

Aar.  Well,  more  or  less,  or  ne'er  a  whit  at  all, 
Here  Aaron  is ;  and  what  with  Aaron  now  ? 

Ntir.  O  gentle  Aaron,  we  are  all  undone ! 
Now  help,  or  woe  betide  thee  evermore ! 

Aar.  Why,  what  a  caterwauling  dost  thou  keep ! 

Wliat  dost  thou  wrap  and  fumble  in  thine  arms  ? 

Nur.  O,  that  which  I  would  hide  from  heaven's  eye, 
Our  empress'  shame  and  stately  Rome's  disgrace ! 
She  is  deliver'd,  lords,  she  is  deliver'd.  61 

Aar.  To  whom  ? 

Nur.  I  mean,  she  is  brought  a-bed. 

Aar.  Wd\,  God  give  her  good  rest !    What  hath  he  sent 
her? 

Nur.  A  devil. 

Aar.  Why,  then  she  is  the  devil's  dam ; 

A  joyful  issue. 

Nur.  A  joyless,  dismal,  black  and  sorrowful  issue: 
Here  is  the  babe,  as  loathsome  as  a  toad 
Amongst  the  fairest  breeders  of  our  clime : 
The  empress  sends  it  thee,  thy  stamp,  thy  seal. 
And  bids  thee  christen  it  with  thy  dagger's  point. 

Aar.  'Zounds,  ye  whore!    is  black  so  base  a  hue?         71 
Sweet  blowse,  you  are  a  beauteous  blossom,  sure. 

Dem.  Villain,  what  hast  thou  done  ? 

Aar.  That  which  thou  canst  not  undo. 

Chi.  Thou  hast  undone  our  mother. 

73 


Act  IV.  Sc.  ii.  THE  TRAGEDY  OF 

Aar.  Villain,  I  have  done  thy  mother. 

Dem.  And  therein,  hellish  doo-,  thou  hast  undone  her. 

Woe  to  her  chance,  and  damn'd  her  loathed  choice ! 

Accursed  the  offspring  of  so  foul  a  fiend ! 
Chi.  It  shall  not  live.  80 

Aar.  It  shall  not  die. 

AUir.  Aaron,  it  must ;   the  mother  wills  it  so. 
Aar.  What,  must  it,  nurse  ?  then  let  no  man  but  I 

Do  execution  on  my  flesh  and  blood. 
Dcni.  I  '11  broach  the  tadpole  on  my  rapier's  point: 

Nurse,  give  it  me ;   my  sword  shall  soon  dispatch  it. 
Aar.  Sooner  this  sword  shall  plough  thy  bowels  up. 

[Takes  the  Child  from  the  Nurse,  and  drazvs. 

Stay,  murderous  villains  !   will  you  kill  your  brother  ? 

Now,  by  the  burning  tapers  of  the  sky. 

That  shone  so  brightly  when  this  boy  was  got,       90 

He  dies  upon  my  scimitar's  sharp  point 

That  touches  this  my  first-bom  son  and  heir ! 

I  tell  you,  3-ounglings,  not  Enceladus, 

With  all  his  threatening  band  of  Typhon's  brood, 

Nor  great  Alcides,  nor  the  god  of  war, 

Shall  seize  this  prey  out  of  his  father's  hands. 

What,  what,  ye  sanguine,  shallow-hearted  boys ! 

Ye  white-limed  walls  !   ye  alehouse  painted  signs  ! 

Coal-black  is  better  than  another  hue. 

In  that  it  scorns  to  bear  another  hue ;  100 

For  all  the  water  in  the  ocean 

Can  never  turn  the  swan's  black  legs  to  white. 

Although  she  lave  them  hourly  in  the  flood. 

Tell  the  empress  from  me,  I  am  of  age 

To  keep  mine  own,  excuse  it  how  she  can. 
Dem.  Wilt  thou  betray  thy  noble  mistress  thus  ? 

74 


TITUS  ANDRONICUS  Act  IV.  Sc.  ii. 

Aar.   ]\Iy  mistress  is  my  mistress,  this  myself. 
The  vigour  and  the  picture  of  my  youth : 
This  before  all  the  world  do  I  prefer; 
This  maug-re  all  the  world  will  I  keep  safe,  no 

Or  some  of  you  sliall  smoke  for  it  in  Rome. 

Dem.  By  this  our  mother  is  for  ever  shamed. 

Chi.  Rome  wdll  despise  her  for  this  foul  escape. 

Niir.  The  emperor  in  his  rage  will  doom  her  death. 

Chi.  I  blush  to  think  upon  this  ignomy. 

Aar.  Why,  there  's  the  privilege  your  beauty  bears : 

Fie,  treacherous  hue,  that  will  betray  with  blushing 

The  close  enacts  and  counsels  of  the  heart! 

Here  's  a  young  lad  framed  of  another  leer : 

Look,  how  the  black  slave  smiles  upon  the  father,  120 

As  who  should  say  '  Old  lad,  I  am  thine  own.' 

He  is  your  brother,  lords,  sensibly  fed 

Of  that  self-blood  that  first  gave  life  to  you ; 

And  from  that  womb  where  you  imprison'd  were 

♦         He  is  enfranchised  and  come  to  light : 

Nay,  he  is  your  brother  by  the  surer  side. 
Although  my  seal  be  stamped  in  his  face. 

Ntir.  Aaron,  what  shall  I  say  unto  the  empress  ? 

Dem.  Advise  thee,  Aaron,  what  is  to  be  done. 

And  we  will  all  subscribe  to  thy  advice :  130 

Save  thou  the  child,  so  we  may  all  be  safe. 

Aar.  Then  sit  we  down,  and  let  us  all  consult. 
My  son  and  I  will  have  the  wand  of  you : 
Keep  there :  now  talk  at  pleasure  of  your  safety. 

[They  sit. 

Dem.  How  many  women  saw  this  child  of  his? 

Aar.  Why,  so,  brave  lords!   when  we  join  in  league, 
I  am  a  lamb :  but  if  you  brave  the  Moor, 

75 


Act  IV.  Sc.  ii.  THE  TRAGEDY  OF 

The  chafed  boar,  the  mountain  Honess, 

The  ocean  swells  not  so  as  Aaron  storms. 

But  say,  again,  how  many  saw  the  child  ?  140 

A'nr.   Cornelia  the  midwife  and  myself; 

And  no  one  else  but  the  deliver'd  empress. 

Aar.  The  empress,  the  midwife,  and  yourself : 

Two  may  keep  counsel  when  the  third  's  aw-ay : 
Go  to  the  empress,  tell  her  this  I  said. 

[He  kills  the  nurse. 
Weke,  weke! 
So  cries  a  pig  prepared  to  the  spit. 

Dem.  What  mean'st  thou,  Aaron?   wherefore  didst  thou 
this? 

Aar.  O  Lord,  sir,  'tis  a  deed  of  policy : 

Shall  she  live  to  betray  this  guilt  of  ours,  150 

A  long-tongued  babbling  gossip  ?   no,  lords,  no : 

And  now  be  it  known  to  you  my  full  intent. 

Not  far,  one  Muliteus,  my  countryman. 

His  wife  but  yesternight  was  brought  to  bed ; 

His  child  is  like  to  her,  fair  as  you  are : 

Go  pack  with  him,  and  give  the  mother  gold, 

And  tell  them  both  the  circumstance  of -all ; 

And*  how  by  this  their  child  shall  be  advanced. 

And  be  received  for  the  emperor's  heir. 

And  substituted  in  the  place  of  mine,  160 

To  calmi  this  tempest  wdiirling  in  the  court ; 

And  let  the  emperor  dandle  him  for  his  own. 

Hark  ye,  lords ;  you  see  I  have  given  her  physic, 

[Pointing  to  the  Nurse. 
And  you  must  needs  bestow  her  funeral ; 
The  fields  are  near,  and  you  are  gallant  grooms : 
I'his  done,  see  that  you  take  no  longer  days, 

76 


TITUS  ANDRONICUS  Act  IV.  Sc.  iii. 

And  send  the  midwife  presently  to  me. 
The  midwife  and  the  nurse  well  made  away, 
Then  let  the  ladies  tattle  what  they  please. 

Chi.  Aaron,  I  see  thou  wilt  not  trust  the  air  170 

With  secrets. 

Dcni.  For  this  care  of  Tamora, 

Herself  and  hers  are  highly  bound  to  thee. 

[Exeunt  Dem.  and  Chi.  hearing  off  the  Nnrse's  body. 

Aar.  Now  to  the  Goths,  as  swift  as  swallow  flies ; 
There  to  dispose  this  treasure  in  mine  arms. 
And  secretly  to  greet  the  empress'  friends. 
Come  on,  you  thick-lipp'd  slave,  I  '11  bear  you  hence ; 
For  it  is  you  that  puts  us  to  our  shifts : 
I  '11  make  you  feed  on  berries  and  on  roots, 
And  feed  on  curds  and  whey,  and  suck  the  goat, 
And  cabin  in  a  cave,  and  bring  you  up  180 

To  be  a  warrior  and  command  a  camp.  [Exit. 

Scene  III. 

The  same.    A  public  place. 

Enter  Titus,  hearing  arrozvs  zvith  letters  at  the  ends  of 
them;  with  him,  Marcus,  young  Lucius,  and  other 
Gentlemen  (Puhlius,  Sempronius,  and  Caius),  with 
bows. 

Tit.  Come,  Marcus,  come ;   kinsmen,  this  is  the  way. 
Sir  boy,  let  me  see  your  archery ; 
Look  ye  draw  home  enough,  and  'tis  there  straight. 
Terras  Astraea  reliquit : 

Be  you  remember'd,  Marcus,  she  's  gone,  she  's  fled. 
Sirs,  take  you  to  your  tools.    You,  cousins,  shall 
Go  sound  the  ocean,  and  cast  your  nets  ; 
Happily  you  may  catch  her  in  the  sea ; 

77 


Act  IV.  Sc.  iii.  THE  TRAGEDY  OF 

Yet  there's  as  little  justice  as  at  land: 

Xo  ;   Publius  and  Sempronius,  you  must  do  it ;       lo 

Tis  you  must  dig  \vith  mattock  and  with  spade, 

And  pierce  the  inmost  centre  of  the  earth : 

Then,  when  you  come  to  Pluto's  region, 

I  pray  you,  deliver  him  this  petition  ; 

Tell  him,  it  is  for  justice  and  for  aid, 

And  then  it  comes  from  old  Andronicus, 

Shaken  with  sorrows  in  ungrateful  Rome. 

Ah,  Rome  !    Well,  well :   I  made  thee  miserable 

What  time  I  threw  the  people's  suffrages 

On  him  that  thus  doth  tyrannize  o'er  me.  20 

Go  get  you  gone ;   and  pray  be  careful  all, 

And  leave  you  not  a  man-of-war  unsearch'd : 

This  wicked  emperor  may  have  shipp'd  her  hence  ; 

And,  kinsmen,  then  we  may  go  pipe  for  justice. 

Marc.  O  Publius,  is  not  this  a  heavy  case, 
To  see  thy  noble  uncle  thus  distract? 

Pub.  Therefore,  my  lord,  it  highly  us  concerns 
By  day  and  night  to  attend  him  carefully. 
And  feed  his  humour  kindly  as  we  may, 
Till  time  beget  some  careful  remedy.  30 

Marc.  Kinsmen,  his  sorrows  are  past  remedy. 

Join  with  the  Goths,  and  with  revengeful  war 
Take  wreak  on  Rome  for  this  ingratitude. 
And  vengeance  on  the  traitor  Saturnine. 

Tit.  Publius,  how  now  !  how  now,  my  masters ! 
What,  have  you  met  with  her? 

Pub.  No,  my  good  lord;  but  Pluto  sends  you  word, 
If  you  will  have  Revenge  from  hell,  you  shall : 
Marry,  for  Justice,  she  is  so  employ'd, 
He  thinks,  with.Jove  in  heaven,  or  somewhere  else, 

78 


TITUS  ANDRONICUS  Act  IV.  Sc.  iii. 

So  that  perforce  you  must  needs  stay  a  time.  41 

Tit.  He  doth  me  wrong  to  feed  m^  with  delays. 
I  '11  dive  into  the  burning  lake  below, 
And  pull  her  out  of  Acheron  by  the  heels. 
Marcus,  we  are  but  shrubs,  no  cedars  we. 
No  big-boned  men  framed  of  the  Cyclops'  size, 
But  metal,  Marcus,  steel  to  the  very  back. 
Yet  wrung  with  wrongs  more  than  our  backs  can  bear  : 
And  sith  there  's  no  justice  in  earth  nor  hell. 
We  will  solicit  heaven,  and  move  the  gods  50 

To  send  down  Justice  for  to  wreak  cur  wrongs. 
Come,  to  this  gear.     You  are  a  good  archer,  Marcus  ; 
[He  gives  them  the  arrows. 
'  Ad  Jovem,'  that  's  for  you  :  here,  '  Ad  Apollinem  ' : 
'  Ad  Martem,'  that 's  for  myself: 
Here,  boy,  to  Pallas  :  here,  to  ^lercury : 
To  Saturn,  Caius,  not  to  Saturnine ; 
You  were  as  good  to  shoot  against  the  wind. 
To  it,  boy!     Marcus,  loose  when  I  bid. 
Of  my  word,  I  have  written  to  effect ; 
There  's  not  a  god  left  unsolicited.  60 

Marc.  Kinsmen,  shoot  all  your  shafts  into  the  court : 
\A'e  will  afflict  the  emperor  in  his  pride. 

Tit.  Now,  masters,  draw.      [They  shoot.]      O,  well  said, 
Lucius ! 
Good  boy,  in  \'irgo's  lap ;  give  it  Pallas. 

Marc.  i\Iy  lord,  I  aim  a  mile  beyond  the  moon ; 
Your  letter  is  with  Jupiter  by  this. 

Tit.  Ha,  ha ! 

Publius,  Publius,  what  hast  thou  done? 

See,  see,  thou  hast  shot  off  one  of  Taurus'  horns. 

Marc.  This  was  the  sport,  my  lord  :  when  Publius  shot, 

79 


Act  IV.  Sc.  iii.  THE  TRAGEDY  OF 

The  Bull,  being  gall'd,  gave  Aries  such  a  knock     71 
That  down  fell  both  the  Ram's  horns  in  the  court ; 
And  who  should  Iind  them  but  the  empress'  villain  ? 
She  laugh'd,  and  told  the  Moor  he  should  not  choose 
But  give  them  to  his  master  for  a  present. 
Tit.  Why,  there  it  goes:    God  give  his  lordship  joy! 

Enter  a  Clozvn,  with  a  basket,  and  tzvo  pigeons  in  it. 

News,  news  from  heaven !   IMarcus,  the  post  is  come. 

Sirrah,  w^hat  tidings?  have  you  any  letters? 

Shall  I  have  justice?  w^hat  says  Jupiter? 
do.  O,  the  gibbet-maker !  he  says  that  he  hath  taken     80 

them   down   again,    for   the   man   must  not   be 

hanged  till  the  next  week. 
Tit.  But  what  says  Jupiter,  I  ask  thee  ? 
Clo.  Alas,  sir,  I  know  not  Jupiter;      I  never  drank 

with  him  in  all  my  life. 
Tit.  Why,  villain,  art  not  thou  the  carrier  ? 
Clo.  Ay,  of  my  pigeons,  sir;   nothing  else. 
7'//.  Why,  didst  thou  not  come  from  heaven? 
Clo.  From  heaven !    alas,   sir,   I  never  came  there : 

God  forbid  I  should  be  so  bold  to  press  to  heaven     90 

in  my  young  days.     Why,  I  am  going  with  my 

pigeons  to  the  tribunal  plebs,  to  take  up  a  matter 

of   brawl    betwixt    my    uncle    and    one    of    the 

emperial's  men. 
Marc.  \A'hy,  sir,  that  is  as  fit  as  can  be  to  serve  for 

your  oration  ;  and  let  him  deliver  the  pigeons  to 

the  emperor  from  you. 
Tit.  Tell    me,    can    you    deliver    an    oration    to    the 

emperor  with  a  grace? 
Clo.  Nay,truly,  sir,  I  could  never  say  grace  in  all  my  life.  100 

80 


TITUS  ANDRONICUS  Act  IV.  Sc.  iv. 

Tit.  Sirrah,  come  hither :   make  no  more  ado, 
But  give  your  pigeons  to  the  emperor : 
By  me  thou  shalt  have  justice  at  his  hands. 
Hold,  hold  ;  meanwhile  here  's  money  for  thy  charges. 
Give  me  pen  and  ink. 
Sirrah,  can  you  with  a  grace  deliver  a  supplication  ? 

do.  Ay,  sir. 

Tit.  Then  here  is  a  supplication  for  you.     And  when 
you  come  to  him,  at  the  first  approach  you  must 
kneel;   then  kiss  his  foot;   then  deliver  up  your  no 
pigeons  ;    and  then  look  for  your  reward.     I  '11 
■  be  at  hand,  sir  :   see  you  do  it  bravely. 

Clo.  I  warrant  you,  sir,  let  me  alone. 

Tit.  Sirrah,  hast  thou  a  knife?  come,  let  me  see  it. 
Here,  ^^larcus,  fold  it  in  the  oration ; 
For  thou  hast  made  it  like  an  humble  suppliant : 
And  when  thou  hast  given  it  to  the  emperor, 
Knock  at  my  door,  and  tell  me  what  he  says. 

Clo.  God  be  with  you,  sir;  I  will.  [Exit. 

Tit.  Come,  Marcus,  let  us  go.     Publius,  follow  me.      120 

[Exeunt. 

Scene  IV. 

The  same.    Before  the  palace. 

Enter  Saturninus,  Tamora,  Chiron,  Demetrius,  Lords,  and 
others;  Saturninus  -a'ith  the  Arroz^'s  in  his  hand  that 
Titus  shot. 

Sat.  Why,  lords,  what  wrongs  are  these  !  was  ever  seen 
An  emperor  in  Rome  thus  overborne, 
Troubled,  confronted  thus,  and  for  the  extent 
Of  egal  justice  used  in  such  contempt? 
81 


Act  IV.  Sc.  iv.  THE  TRAGEDY  OF 

Aly  lords,  you  know,  as  know  the  mightfiil  gods, 
However  these  disturbers  of  our  peace 
Buzz  in  the  people's  ears,  there  nought  hath  pass'd 
But  even  with  law  against  the  wilful  sons 
Of  old  Andronicus.    And  what  an  if 
His  sorrows  have  so  overwhelm'd  his  wits,  lo 

Shall  we  be  thus  afflicted  in  his  wreaks. 
His  fits,  his  frenzy  and  his  bitterness  ? 
And  now  he  writes  to  heaven  for  his  redress  : 
See,  here  's  to  Jove,  and  this  to  Mercury ; 
This  to  Apollo  ;  this  to  the  god  of  war  : 
Sweet  scrolls  to  fly  about  the  streets  of  Rome ! 
What 's  this  but  libelling  against  the  senate, 
And  blazoning  our  injustice  every  where? 
A  goodly  humour,  is  it  not,  my  lords  ? 
As  who  w^ould  say,  in  Rome  no  justice  were.  20 

But  if  I  live,  his  feigned  ecstasies 
Shall  be  no  shelter  to  these  outrages : 
But  he  and  his  shall  know  that  justice  lives 
In  Saturninus'  health  ;  whom,  if  he  sleep. 
He  '11  so  awake,  as  he  in  fury  shall 
Cut  off  the  proud'st  conspirator  that  lives. 
Tarn.  My  gracious  lord,  my  lovely  Saturnine, 
Lord  of  my  life,  commander  of  my  thoughts, 
Calm  thee,  and  bear  the  faults  of  Titus'  age. 
The  effects  of  sorrow  for  his  valiant  sons,  30 

Whose  loss  hath  pierced  him  deep  and  scarr'd  his 

heart ; 
And  rather  comfort  his  distressed  plight 
Than  prosecute  the  meanest  or  the  best 
For  these  contempts.      [Aside]   Why,  thus  it  shall 

become 

82 


TITUS  ANDRONICUS  Act  IV.  Sc.  iv. 

High-witted  Tamora  to  gloze  with  all : 
But,  Titus,  I  have  touch 'd  thee  to  the  quick, 
Thy  life-blood  out :  if  Aaron  now  be  wise, 
Then  is  all  safe,  the  anchor  in  the  port. 

Enter  Clozvn. 

How  now,  good  fellow !  wouldst  thou  speak  with  us  ? 

Clo.  Yea,  forsooth,  an  your  mistership  be  emperial.        40 

Tani.  Empress  I  am,  but  yonder  sits  the  emperor. 

Clo.  'Tis  he.  God  and  Saint  Stephen  give  you 
godden :  I  have  brought  you  a  letter  and  a 
couple  of  pigeons  here.      [Satiirniniis  reads  the  letter. 

Sat.  Go,  take  him  away,  and  hang  him  presently. 

Clo.  How  much  money  must  I  have? 

Tain.  Come,  sirrah,  you  must  be  hanged. 

Clo.  Hanged !    by  'r  lady,  then  I  have  brought  up  a 

neck  to  a  fair  end.  [Exit,  guarded. 

Sat,  Despiteful  and  intolerable  wrongs  !  S^ 

Shall  I  endure  this  monstrous  villany  ? 
I  know  from  whence  this  same  device  proceeds ; 
May  this  be  borne  ?    As  if  his  traitorous  sons. 
That  died  by  law  for  murder  of  our  brother. 
Have  by  my  means  been  butcher'd  wrongfully ! 
Go,  drag  the  villain  hither  by  the  hair ; 
Nor  age  nor  honour  shall  shape  privilege : 
For  this  proud  mock  I  '11  be  thy  slaughter-man  ; 
Sly  frantic  wretch,  that  holp'st  to  make  me  great, 
In  hope  thyself  should  govern  Rome  and  me.  60 

Enter  ^milius. 

What  news  with  thee,  yEmilius  ? 
jEmil  Arm,  my  lords ;  Rome  never  had  more  cause. 

83 


Act  IV.  Sc.  iv.  THE  TRAGEDY  OF 

The  Goths  have  gather'd  head,  and  with  a  power 

Of  high-resolved  men,  bent  to  the  spoil, 

They  hither  march  amain,  under  conduct 

Of  Lucius,  son  to  old  Andronicus ; 

Who  threats,  in  course  of  this  revenge,  to  do 

As  much  as  ever  Coriolanus  did. 

Sat.  Is  warlike  Lucius  general  of  the  Goths? 

These  tidings  nip  me,  and  I  hang  the  head  70 

As  flowers  with  frost  or  grass  beat  down  with  storms  : 

Ay,  now  begin  our  sorrows  to  approach : 

Tis  he  the  common  people  love  so  much ; 

Myself  hath  often  heard  them  say. 

When  I  have  walked  like  a  private  man, 

That  Lucius'  banishment  w^as  wrongfully. 

And  they  have  wish'd  that  Lucius  were  their  emperor. 

Tain.  Why  should  you  fear?  is  not  your  city  strong? 

Sat.  Ay,  but  the  citizens  favour  Lucius, 

And  will  revolt  from  me  to  succour  him.  80 

Tain.  King,  be  thy  thoughts  imperious,  like  thy  name. 
Is  the  sun  dimm'd,  that  gnats  do  fly  in  it  ? 
The  eagle  suffers  little  birds  to  sing. 
And  is  not  careful  what  they  mean  thereby, 
Knowing  that  with  the  shadow  of  his  wings 
He  can  at  pleasure  stint  their  melody : 
Even  so  mayst  thou  the  giddy  men  of  Rome. 
Then  cheer  thy  spirit :  for'  know,  thou  emperor, 
I  will  enchant  the  old  Andronicus 
With  words  more  sweet,  and  yet  more  dangerous, 
Than  baits  to  fish,  or  honey-stalks  to  sheep ;  91 

Whenas  the  one  is  w^ounded  with  the  bait, 
The  other  rotted  with  delicious  feed. 

Sat.  But  he  will  not  entreat  his  son  for  us. 

84 


TITUS  ANDRONICUS  Act  V.  Sc.  i. 

Tarn.  If  Tamora  entreat  him,  then  he  will : 
For  I  can  smooth,  and  fill  his  aged  ears 
With  golden  promises ;   that,  were  his  heart 
Almost  impregnable,  his  old  ears  deaf, 
Yet  should  both  ear  and  heart  obey  my  tongue. 
[To  ^ijiilius]   Go  thou  before,  be  our  ambassador : 
Say  that  the  emperor  requests  a  parley  .      loi 

Of  warlike  Lucius,  and  appoint  the  meeting 
Even  at  his  father's  house,  the  old  Andronicus. 

Sat.  TEmilius,  do  this  message  honourably  : 
And  if  he  stand  on  hostage  for  his  safety. 
Bid  him  demand  what  pledge  will  please  him  best. 

JEmil.  Your  bidding  shall  I  do  effectually.  [Exit. 

Tarn.  Now  will  I  to  that  old  Andronicus, 
And  temper  him  with  all  the  art  I  have, 
To  pluck  proud  Lucius  from  the  warlike  Goths,     no 
And  now,  sweet  emperor,  be  blithe  again. 
And  bury  all  thy  fear  in  my  devices. 

Sat.  Then  go  successantly,  and  plead  to  him.        [Exeunt. 

ACT  FIFTH. 
Scene  I. 

Plains  near  Rome. 

Flourish.  Enter  Lucius  and  Goths,  zvith  drum  and  colours. 

Luc.  Approved  warriors,  and  my  faithful  friends, 
I  have  received  letters  from  great  Rome, 
Which  signify  what  hate  they  bear  their  emperor. 
And  how  desirous  of  our  sight  they  are. 
Therefore,  great  lords,  be,  as  your  titles  witness, 
Imperious,  and  impatient  of  your  wrongs ; 

85 


Act  V.  Sc.  i.  THE  TRAGEDY  OF 

And  wherein  Rome  hath  done  you  any  scath, 
Let  him  make  treble  satisfaction. 

First  Goth.  Brave  sHp,  sprung-  from  the  great  Andronicus, 
Whose  name  was  once  our  terror,  now  our  comfort ; 
Whose  high  exploits  and  honourable  deeds  1 1 

Ingrateful  Rome  requites  with  foul  contempt, 
Be  bold  in  us  :  we  '11  follow  where  thou  lead'st, 
Like  stinging  bees  in  hottest  summer's  day, 
Led  by  their  master  to  the  flowered  fields, 
And  be  avenged  on  cursed  Tamora. 

All  the  Goths,  And  as  he  saith,  so  say  we  all  with  him. 

Luc.  I  humbly  thank  him,  and  I  thank  you  all. 
But  who  comes  here,  led  by  a  lusty  Goth  ? 

Enter  a  Goth,  leading  Aaron  zvith  his  Child  in  his  arms. 

Sec.  Goth.  Renowned  Lucius,  from  our  troops  I  stray'd  20 
To  gaze  upon  a  ruinous  monastery ; 
And,  as  I  earnestly  did  fix  mine  eye 
Upon  the  wasted  building,  suddenly 
I  heard  a  child  cry  underneath  a  wall. 
I  made  unto  the  noise  ;  when  soon  I  heard 
The  crying  babe  controll'd  with  this  discourse: 
'  Peace,  tawny  slave,  half  me  and  half  thy  dam ! 
Did  not  thy  hue  bewray  whose  brat  thou  art ; 
Had  nature  lent  thee  but  thy  mother's  look, 
Villain,  thou  mightst  have  been  an  emperor : 
But  where  the  bull  and  cow  are  both  milk-white. 
They  never  do  beget  a  coal-black  calf. 
Peace,  villain,  peace ! ' — even  thus  he  rates  the  babe — 
*  For  I  must  bear  thee  to  a  trusty  Goth  ; 
Who,  when  he  knows  thou  art  the  empress'  babe, 
Will  hold  thee  dearly  for  thy  mother's  sake.' 
86 


TITUS  ANDRONICUS  Act  V.  Sc.  i. 

With  this,  my  weapon  drawn,  I  rush'd  upon  him. 

Surprised  him  suddenly,  and  brought  him  hither, 

To  use  as  you  think  needful  of  the  man. 
Luc.  O  worthy  Goth,  this  is  the  incarnate  devil  40 

That  robb'd  Andronicus  of  his  good  hand ; 

This  is  the  pearl  that  pleased  your  empress'  eye ; 

And  here  's  the  base  fruit  of  his  burning  lust. 

Say,  wall-eyed  slave,  whither  wouldst  thou  convey 

This  growing  image  of  thy  fiend-like  face? 

Why  dost  not  speak  ?  what,  deaf  ?  not  a  word  ? 

A  halter,  soldiers  !  hang  him  on  this  tree. 

And  by  his  side  his  fruit  of  bastardy. 
Aar.  Touch  not  the  boy ;  he  is  of  royal  blood. 
Luc.  Too  like  the  sire  for  ever  being  good.  50 

First  hang  the  child,  that  he  may  see  it  sprawl ; 

A  sight  to  vex  the  father's  soul  withal. 

Get  me  a  ladder. 

[A  ladder  brought,  icJiich  Aaron  is  made  to  ascend. 
Aar.  Lucius,  save  the  child. 

And  bear  it  from  me  to  the  empress. 

If  thou  do  this,  I  '11  show  thee  wondrous  things. 

That  highly  may  advantage  thee  to  hear : 

If  thou  wilt  not,  befall  what  may  befall. 

I  '11  speak  no  more  but  '  \'engeance  rot  you  all ! ' 
Luc.  Say  on :  an  if  it  please  me  wdiich  thou  speak'st. 

Thy  child  shall  live,  and  I  will  see  it  nourish'd.       60 
Aar.  An  if  it  please  thee  !  why,  assure  thee,  Lucius, 

'Twill  vex  thy  soul  to  hear  what  I  shall  speak ; 

For  I  must  talk  of  murders,  rapes  and  massacres, 

Acts  of  black  night,  abominable  deeds, 

Complots  of  mischief,  treason,  villanies 

Ruthful  to  hear,  yet  piteously  perform'd : 

87 


Act  V.  Sc.  i.  THE  TRAGEDY  OF 

And  this  shall  all  be  buried  in  my  death, 
Unless  thou  swear  to  me  my  child  shall  live. 

Luc.  Tell  on  thy  mind ;  I  say  thy  child  shall  live. 

Aar.   Swear  that  he  shall,  and  then  I  will  begin.  70 

Luc.  Who  should  I  swear  by?  thou  believest  no  god : 
That  granted,  how  canst  thou  believe  an  oath  ? 

Aar.  What  if  I  do  not  ?  as,  indeed,  I  do  not ; 
Yet,  for  I  know  thou  art  religious, 
And  hast  a  thing  within  thee  called  conscience. 
With  twenty  popish  tricks  and  ceremonies, 
AVhich  1  have  seen  thee  careful  to  observe. 
Therefore  I  urge  thy  oath ;  for  that  I  know 
An  idiot  holds  his  bauble  for  a  god. 
And  keeps  the  oath  which  by  that  god  he  swears,     80 
To  that  I  '11  urge  him  :  therefore  thou  shalt  vow 
By  that  same  god,  what  god  soe'er  it  be. 
That  thou  adorest  and  hast  in  reverence. 
To  save  my  boy,  to  nourish  and  bring  him  up ; 
Or  else  I  will  discover  nought  to  thee. 

Luc.  Even  by  my  god  I  sware  to  thee  I  will. 

Aar.  First  know  thou,  I  begot  him  on  the  empress. 

Luc.  O  most  insatiate,  and  luxurious  woman ! 

Aar.  Tut,  Lucius,  this  was  but  a  deed  of  charity 

To  that  which  thou  shalt  hear  of  me  anon.  90 

'Twas  her  two  sons  that  murder'd  Bassianus  ; 
They  cut  thy  sister's  tongue,  and  ravish'd  her. 
And  cut  her  hands,  and  trimm'd  her  as  thou  saw'st. 

Luc.  O  detestable  villain!  call'st  thou  that  trimming? 

Aar.  \A  hy,  she  was  wash'd  and  cut  and  trimm'd,  and  'twas 
Trim  sport  for  them  that  had  the  doing  of  it. 

Luc.  O  barbarous,  beastly  villains,  like  thyself ! 

Aar.  Indeed,  I  was  their  tutor  to  instruct  them : 

88 


TITUS  ANDRONICUS  Act  V.  Sc.  i. 

That  codding  spirit  had  they  from  their  mother, 

As  sure  a  card  as  ever  won  the  set ;  lOO 

That  bloody  mind,  I  think,  they  learn'd  of  me, 

As  true  a  dog  as  ever  fought  at  head. 

Well,  let  my  deeds  be  witness  of  my  worth. 

I  train 'd  thy  brethren  to  that  guileful  hole, 

Where  the  dead  corpse  of  Bassianus  lay : 

I  wrote  the  letter  that  thy  father  found, 

And  hid  the  gold  within  the  letter  mention'd, 

Confederate  with  the  queen  and  her  two  sons  : 

And  what  not  done,  that  thou  hast  cause  to  rue, 

Wherein  I  had  no  stroke  of  mischief  in  it?  no 

I  play'd  the  cheater  for  thy  father's  hand ; 

And,  when  I  had  it,  drew  myself  apart. 

And  alm.ost  broke  my  heart  with  extreme  laughter  : 

I  pried  me  through  the  crevice  of  a  wall 

When  for  his  hand  he  had  his  two  sons'  heads  ; 

Beheld  his  tears  and  laugh'd  so  heartily, 

That  both  mine  eyes  were  rainy  like  to  his  : 

And  when  I  told  the  empress  of  this  sport. 

She  swounded  almost  at  my  pleasing  tale, 

And  for  my  tidings  gave  me  twenty  kisses.  120 

First  Goth.  What,  canst  thou  say  all  this,  and  never  blush  ? 

Aar.  Ay,  like  a  black  dog,  as  the  saying  is. 

Luc.  Art  thou  not  sorry  for  these  heinous  deeds? 

Aar.  Ay,  that  I  had  not  done  a  thousand  more. 
Even  now  I  curse  the  day — and  yet,  I  think, 
Few  come  within  the  compass  of  m^/  curse — 
Wherein  I  did  not  some  notorious  ill : 
As  kill  a  man,  or  else  devise  his  death ; 
Ravish  a  maid,  or  plot  the  way  to  do  it ; 
Accuse  some  innocent,  and  forswear  myself;         130 

89 


Act  V.  Sc.  i.  THE  TRAGEDY  OF 

Set  deadly  enmity  between  two  friends  ; 

Make  poor  men's  cattle  break  their  necks  ; 

Set  fire  on  barns  and  hay-stacks  in  the  night, 

And  bid  the  owners  quench  them  with  their  tears. 

Oft  have  I  digg'd  up  dead  men  from  their  graves, 

And  set  them  upright  at  their  dear  friends'  doors, 

Even  when  their  sorrows  almost  were  forgot ; 

And  on  their  skins,  as  on  the  bark  of  trees, 

Have  with  my  knife  carved  in  Roman  letters 

'  Let  not  your  sorrow  die,  though  I  am  dead.'         140 

Tut,  I  have  done  a  thousand  dreadful  things 

As  willingly  as  one  would  kill  a  fly ; 

And  nothing  grieves  me  heartily  indeed. 

But  that  I  cannot  do  ten  thousand  more. 

Luc.  Bring  down  the  devil ;  for  he  must  not  die 
So  sweet  a  death  as  hanging  presently. 

Aar.  If  there  be  devils,  would  I  were  a  devil. 
To  live  and  burn  in  everlasting  fire. 
So  I  might  have  your  company  in  hell. 
But  to  torment  you  wnth  my  bitter  tongue !  1 50 

Luc.   Sirs,  stop  his  mouth,  and  let  him  speak  no  more. 

Enter  a  Goth. 

Third  Goth.  ]My  lord,  there  is  a  messenger  from  Rome 

Desires  to  be  admitted  to  your  presence. 
Luc.  Let  him  come  near. 

Enter  JEniilius. 

Welcome,  ^milius  :  what 's  the  news  from  Rome? 
^mil.  Lord  Lucius,  and  you  princes  of  the  Goths, 
The  Roman  emperor  greets  you  all  by  me ; 
And,  for  he  understands  you  are  in  arms, 
90 


TITUS  ANDRONICUS  Act  V.  Sc.  ii. 

He  craves  a  parley  at  your  father's  house, 

WilHng  you  to  demand  your  hostages,  ^  i6o 

And  they  shall  be  immediately  deliver'd. 

First  Goth.  What  says  our  general? 

Luc.  ^milius,  let  the  emperor  give  his  pledges 
Unto  my  father  and  my  uncle  Marcus, 
And  we  will  come.    March  away. 

[Flourish.    Exeunt. 

Scene  II. 

Rome.     Before  Titus's  house. 

Enter  Tamora,  Demetrius,  and  Chiron,  disguised. 

Tarn.  Thus,  in  this  strange  and  sad  habiliment, 
I  will  encounter  with  Andronicus, 
And  say  I  am  Revenge,  sent  from  below 
To  join  with  him  and  right  his  heinous  wrongs. 
Knock  at  his  study,  where,  they  say,  he  keeps. 
To  ruminate  strange  plots  of  dire  revenge ; 
Tell  him  Revenge  is  come  to  join  with  him, 
And  work  confusion  on  his  enemies.        [They  knock. 

Enter  Titus,  above. 

Tit.  Who  doth  molest  my  contemplation  ? 

Is  it  your  trick  to  make  me  ope  the  door,  lo 

That  so  my  sad  decrees  may  fly  away, 

And  all  my  study  be  to  no  effect  ? 

You  are  deceived :  for  what  I  mean  to  do 

See  here  in  bloody  lines  I  have  set  down ; 

And  what  is  written  shall  be  executed. 
Tam.  Titus,  I  am  come  to  talk  with  thee. 
Tit.  Xo,  not  a  word :  how  can  I  grace  my  talk, 

91 


Act  V.  Sc.  ii.  THE  TRAGEDY  OF, 

Wanting  a  hand  to  give  it  action  ? 

Thou  hast  the  odds  of  me  ;  therefore  no  more. 
Tarn.  If  thou  didst  know  me,  thou  wouldst  talk  with  me. 
Tit.  I  am  not  mad  ;   I  know  thee  well  enough:  21 

Witness  this  wretched  stump,  witness  these  crimson 
lines ; 

Witness  these  trenches  made  by  grief  and  care ; 

Witness  the  tiring  day  and  heavy  night ; 

Witness  all  sorrow,  that  I  know  thee  w^ell 

For  our  proud  empress,  mighty  Tamora : 

Is  not  thy  coming  for  my  other  hand  ? 
Tarn.  Know,  thou  sad  man,  I  am  not  Tamora  ; 

She  is  thy  enemy,  and  I  thy  friend : 

I  am  Revenge  ;  sent  from  the  infernal  kingdom,     30 

To  ease  the  gnawing  vulture  of  thy  mind, 

By  working  wreak ful  vengeance  on  thy  foes. 

Come  down  and  welcome  me  to  this  world's  light ; 

Confer  with  me  of  murder  and  of  death : 

There  's  not  a  hollow  cave  or  lurking-place, 

No  vast  obscurity  or  misty  vale, 

Where  bloody  murder  or  detested  rape 

Can  couch  for  fear,  but  I  will  find  them  out, 

And  in  their  ears  tell  them  my  dreadful  name. 

Revenge,  which  makes  the  foul  offender  quake.       40 
Tit.  Art  thou  Revenge  ?  and  art  thou  sent  to  me, 

To  be  a  torment  to  mine  enemies  ? 
Tarn.  I  am ;   therefore  come  down  and  welcome  me. 
Tit.  Do  me  some  service  ere  I  come  to  thee. 

Lo,  by  thy  side  where  Rape  and  Murder  stands ; 

Now  give  some  surance  that  thou  art  Revenge, 

Stab  them,  or  tear  them  on  thy  chariot- wheels ; 

And  then  I  '11  come  and  be  thy  waggoner, 
92 


TITUS  ANDRONICUS  Act  V.  Sc.  ii. 

And  whirl  along  with  thee  about  the  globes.   • 

Provide  thee  two  proper  palfreys,  black  as  jet,         50 

To  hale  thy  vengeful  waggon  swift  away, 

And  find  out  murderers  in  their  guilty  caves : 

And  when  thy  car  is  loaden  with  their  heads, 

I  will  dismount,  and  by  the  waggon-wheel 

Trot  like  a  servile  footman  all  day  long. 

Even  from  Hyperion's  rising  in  the  east 

Until  his  very  downfall  in  the  sea : 

And  day  by  day  I  '11  do  this  heavy  task, 

So  thou  destroy  Rapine  and  Murder  there. 

Tajn.  These  are  my  ministers  and  come  with  me.  60 

Tit.  Are  these  thy  ministers  ?  what  are  they  call'd  ? 

Tam.  Rapine  and  Murder ;  therefore  called  so, 

'Cause  they  take  vengeance  of  such  kind  of  men. 

Tit.  Good  Lord,  how  like  the  empress'  sons  they  are, 
And  you  the  empress  !  but  we  worldly  men 
Have  miserable,  mad,  mistaking  eyes. 

0  sweet  Revenge,  now  do  I  come  to  thee ; 

And,  if  one  arm's  embracement  will  content  thee, 

1  will  embrace  thee  in  it  by  and  by.  [Exit  above. 
Tam.  This  closing  with  him  fits  his  lunacy  :  70 

Whate'er  I  forge  to  feed  his  brain-sick  fits, 

Do  you  uphold  and  maintain  in  your  speeches. 

For  now  he  firmly  takes  me  for  Revenge ; 

And,  being  credulous  in  this  mad  thought, 

I  '11  make  him  send  for  Lucius  his  son  ; 

And,  whilst  I  at  a  banquet  hold  him  sure, 

I  '11  find  some  cunning  practice  out  of  hand. 

To  scatter  and  disperse  the  giddy  Goths, 

Or  at  the  least  make  them  his  enemies. 

See,  here  he  comes,  and  I  must  ply  my  theme.         80 

93 


Act  V.  Sc.  ii.  THE  TRAGEDY  OF 

Enter  Titus,  belozv. 

Tit.  Long  have  I  been  forlorn,  and  all  for  thee : 
Welcome,  dread  Fury,  to  my  woful  house : 
Rapine  and  Murder,  you  are  welcome  too : 
How  like  the  empress  and  her  sons  you  are ! 
Well  are  you  fitted,  had  you  but  a  Moor : 
Could  not  all  hell  afford  you  such  a  devil  ? 
For  well  I  wot  the  empress  never  wags 
But  in  her  company  there  is  a  Moor  ; 
And,  would  you  represent  our  queen  aright, 
It  were  convenient  you  had  such  a  devil :  90 

But  welcome,  as  you  are.    What  shall  we  do? 

Tain.  What  wouldst  thou  have  us  do,  Andronicus  ? 

Dem.  Show  me  a  murderer,  1  '11  deal  with  him. 

Chi.  Show  me  a  villain  that  hath  done  a  rape. 
And  I  am  sent  to  be  revenged  on  him. 

Tarn.  Show  me  a  thousand  that  have  done  thee  wrong. 
And  I  will  be  revenged  on  them  all. 

Tit.  Look  round  about  the  wicked  streets  of  Rome, 
And  when  thou  find'st  a  man  that 's  like  thyself. 
Good  Murder,  stab  him  ;   he  's  a  murderer.  100 

Go  thou  with  him,  and  when  it  is  thy  hap 
To  find  another  that  is  like  to  thee. 
Good  Rapine,  stab  him  ;  he  's  a  ravisher. 
Go  thou  with  them ;  and  in  the  emperor's  court 
There  is  a  queen,  attended  by  a  Moor ; 
Well  mayst  thou  know  her  by  thine  own  proportion, 
For  up  and  down  she  doth  resemble  thee : 
I  pray  thee,  do  on  them  some  violent  death  ; 
They  have  been  violent  to  me  and  mine. 

Tarn.  Well  hast  thou  lesson'd  us  ;  this  shall  we  do.       1 10 

94 


TITUS  ANDRONICUS  Act  V.  Sc.  ii. 

But  would  it  please  thee,  good  Andronicus, 
To  send  for  Lucius,  thy  thrice  valiant  son, 
Who  leads  towards  Rome  a  band  of  warlike  Goths, 
And  bid  him  come  and  banquet  at  thy  house ; 
When  he  is  here,  even  at  thy  solemn  feast, 
I  will  bring  in  the  empress  and  her  sons, 
The  emperor  himself,  and  all  thy  foes ; 
And  at  thy  mercy  shall  they  stoop  and  kneel. 
And  on  them  shalt  thou  ease  thy  angry  heart. 
What  says  Andronicus  to  this  device  ?  120 

TiL  Marcus,  my  brother !  'tis  sad  Titus  calls. 

Enter  Marcus. 

Go,  gentle  Alarcus,  to  thy  nephew  Lucius ; 

Thou  shalt  inquire  him  out  among  the  Goths : 

Bid  him  repair  to  me  and  bring  wuth  him 

Some  of  the  chiefest  princes  of  the  Goths  : 

Bid  him  encamp  his  soldiers  where  they  are : 

Tell  him  the  emperor  and  the  empress  too 

Feast  at  my  house,  and  he  shall  feast  with  them. 

This  do  thou  for  my  love,  and  so  let  him, 

As  he  regards  his  aged  father's  life.  13c 

Marc.  This  will  I  do,  and  soon  return  again.  [Exit. 

Tain.  Now  \\\\\  I  hence  about  thy  business. 
And  take  my  ministers  along  with  me. 

Tit.  Nay,  nay,  let  Rape  and  Murder  stay  with  me ; 
Or  else  I  '11  call  my  brother  back  again. 
And  cleave  to  no  revenge  but  Lucius. 

Tani.    [Aside  to  her  sons]  What  say  you,  boys?  will  you 
bide  v^ith  him, 
Whiles  I  go  tell  my  lord  the  emperor 
How  I  have  govern'd  our  determined  jest? 

95 


Act  V.  Sc.  ii.  THE  TRAGEDY  OF 

Yield  to  his  humour,  smooth  and  speak  him  fair,   140 

And  tarry  with  him  till  I  turn  again. 
Tit.    [Aside^   I  know  them  all,  though  they  suppose  me 
mad; 

And  will  o'er-reach  them  in  their  own  devices : 

A  pair  of  cursed  hell-hounds  and  their  dam. 
Dem.  Aladam,  depart  at  pleasure ;  leave  us  here. 
Tarn.  Farewell,  Andronicus  :  Revenge  now  goes 

To  lay  a  complot  to  betray  thy  foes. 
Tit.  I  know  thou  dost ;  and,  sweet  Revenge,  farewell. 

[Exit  T  am  or  a. 
Chi.  Tell  us,  old  man,  how  shall  we  be  employ 'd? 
Tit.  Tut,  I  have  work  enough  for  you  to  do.  150 

Publius,  come  hither,  Caius,  and  Valentine ! 

Enter  Publius  and  others. 

Pub.  What  is  your  will  ? 

Tit.  Know  you  these  two  ? 

Pub.  The  empress'  sons,   I  take  them,   Chiron  and 
Demetrius. 

Tit.  Fie,  Publius,  fie !  thou  art  too  much  deceived ; 
The  one  is  Murder,  Rape  is  the  other's  name ; 
And  therefore  bind  them,  gentle  Publius : 
Caius  and  Valentine,  lay  hands  on  them : 
Oft  have  you  heard  me  wish  for  such  an  hour,      160 
And  now  I  find  it ;  therefore  bind  them  sure ; 
And  stop  their  mouths,  if  they  begin  to  cry.        [Exit. 
[Publius,  &c.  lay  hold  on  Chiron  and  Dcnietrius. 

Chi.  Villains,  forbear !   we  are  the  empress'  sons. 

Pub.  And  therefore  do  we  what  we  are  commanded. 
Stop  close  their  mouths,  let  them  not  speak  a  word. 
Is  he  sure  bound  ?  look  that  you  bind  them  fast. 

96 


TITUS  ANDRONICUS  Act  V.  Sc.  ii. 


Re-enter  Titus,  zvith  Lavinia;  he  hearing  a  knife, 
and  she  a  basin. 

Tit.  Come,  come,  Lavinia  ;  look,  thy  foes  are  bound. 
Sirs,  stop  their  mouths,  let  them  not  speak  to  me ; 
But  let  them  hear  what  fearful  words  I  utter. 
O  villains,  Chiron  and  Demetrius  !  170 

Here  stands  the  spring  whom  you  have  stain'd  with 

mud, 
This  goodly  summer  with  your  winter  mix'd. 
You  kill'd  her  husband,  and  for  that  vile  fault 
Two  of  her  brothers  were  condemn'd  to  death. 
My  hand  cut  off  and  made  a  merry  jest ; 
Both  her  sweet  hands,  her  tongue,  and  that  more  dear 
Than  hands  or  tongue,  her  spotless  chastity, 
Inhuman  traitors,  you  constrain'd  and  forced. 
What  would  you  say,  if  I  should  let  you  speak  ? 
Villains,  for  shame  you  could  not  beg  for  grace,     180 
Hark,  wretches  !  how  I  mean  to  martyr  you. 
This  one  hand  yet  is  left  to  cut  your  throats, 
Whilst  that  Lavinia  'tween  her  stumps  doth  hold 
The  basin  that  receives  your  guilty  blood. 
You  know  your  mother  means  to  feast  with  me, 
And  calls  herself  Revenge,  and  thinks  me  mad : 
Hark,  villains  !  I  will  grind  your  bones  to  dust. 
And  with  your  blood  and  it  I  '11  make  a  paste ; 
And  of  the  paste  a  coffin  I  will  rear. 
And  make  two  pasties  of  your  shameful  heads  ;      190 
And  bid  that  strumpet,  your  unhallow'd  dam, 
Like  to  the  earth,  swallow  her  own  increase. 
This  is  the  feast  that  I  have  bid  her  to. 
And  this  the  banquet  she  shall  surfeit  on ; 

97 


Act  V.  Sc.  iii.  THE  TRAGEDY  OF 

For  worse  than  Philomel  yon  nsed  my  danghter, 
And  worse  than  Progne  I  will  be  revenged : 
And  now  prepare  your  throats.    Lavinia,  come, 

[He  cuts  their  throats. 
Receive  the  blood :  and  when  that  they  are  dead, 
Let  me  go  grind  their  bones  to  powder  small, 
And  with  this  hateful  liquor  temper  it ;  200 

And  in  that  paste  let  their  vile  heads  be  baked. 
Come,  come,  be  every  one  officious 
To  make  this  banquet ;  which  I  wish  may  prove 
More  stern  and  bloody  than  the  Centaurs'  feast. 
So,  now  bring  them  in,  for  I  '11  play  the  cook. 
And  see  them  ready  against  their  mother  comes. 

[Exeunt,  hearing  the  dead  bodies. 

Scene  III. 

Court  of  Titus's  house.    A  banquet  set  out. 
Enter  Lucius,  Marcus,  and  Goths,  ivith  Aaron,  prisoner. 

Luc.  Uncle  Marcus,  since  it  is  my  father's  mind 
That  I  repair  to  Rome,  I  am  content. 

Eirst  Goth.  And  ours  with  thine,  befall  what  fortune  will. 

Luc.  Good  uncle,  take  you  in  this  barbarous  Moor, 
This  ravenous  tiger,  this  accursed  devil ; 
Let  him  receive  no  sustenance,  fetter  him, 
Till  he  be  brought  unto  the  empress'  face, 
For  testimony  of  her  foul  proceedings : 
And  see  the  ambush  of  our  friends  be  strong; 
I  fear  the  emperor  means  no  good  to  us.  lO 

Aar.  Some  devil  whisper  curses  In  mine  ear. 

And  prompt  me,  that  my  tongue  may  utter  forth 
The  venomous  malice  of  my  swelling  heart ! 
98 


TITUS  ANDRONICUS  Act  V.  Sc.  iii. 

Luc.  Away,  inhuman  dog!   imhallow'd  slave! 
Sirs,  help  our  uncle  to  convey  him  in, 

[Exeunt  Goths,  zvith  Aaron.     Flourish  zvithin. 
The  trumpets  show  the  emperor  is  at  hand. 

Enter  Satnrninus  and  Taniora,  ivith  ^milius,  Tribunes, 
Senators,  and  others. 

Sat.  What,  hath  the  firmament  moe  suns  than  one  ? 

Luc.  What  boots  it  thee  to  call  thyself  a  sun  ? 

Marc.  Rome's  emperor,  and  nephew,  break  the  parle  ; 

These  quarrels  must  be  quietly  debated.  20 

The  feast  is  ready,  which  the  careful  Titus 

Hath  ordain'd  to  an  honourable  end, 

For  peace,  for  love,  for  league  and  good  to  Rome : 

Please  you,  therefore,  draw  nigh,  and  take  your  places. 

Sat.  Marcus,  we  will. 

[Hautboys  sound.     The  Company  sit  dozen  at  fable. 

Enter  Titus,  like  a  Cook,  placing  the  meat  on  the  tabic, 
and  Laz'inia  zi'ith  a  veil  over  her  face,  young  Lucius, 
and  others. 

Tit.  Welcome,  my  gracious  lord ;   welcome,  dread  queen ; 

Welcome,  ye  warlike  Goths ;  welcome,  Lucius  ; 

And  welcome,  all :  although  the  cheer  be  poor, 

'Twill  fill  your  stomachs  ;  please  you  eat  of  it. 
Sat.  Why  art  thou  thus  attired,  Andronicus  ?  30 

Tit.  Because  I  would  be  sure  to  have  all  well, 

To  entertain  your  highness  and  your  empress. 
Tarn.  We  are  beholding  to  you,  good  Andronicus. 
Tit.  An  if  your  highness  knew  my  heart,  you  were. 

My  lord  the  emperor,  resolve  me  this : 

Was  it  well  done  of  rash  X'irginius 

99 


Act  V.  Sc.  iii.  THE  TRAGEDY  OF 

To  slay  his  daughter  with  his  own  right  hand, 
Because  she  was  enforced,  stain'd,  and  deflower'd? 

Sat.  It  was,  Andronicus. 

Tit.  Your  reason,  mighty  lord  ?  40 

Sat.  Because  the  girl  should  not  survive  her  shame, 
And  by  her  presence  still  renew  his  sorrows. 

Tit.  A  reason  mighty,  strong  and  effectual, 
A  pattern,  precedent,  and  lively  warrant, 
For  me,  most  wretched,  to  perform  the  like. 
Die,  die,  Lavinia,  and  thy  shame  with  thee. 
And  with  thy  shame  thy  father's  sorrow  die ! 

[Kills  Lavinia, 

Sat.  What  hast  thou  done,  unnatural  and  unkind  ? 

Tit.  Kill'd  her,  for  whom  my  tears  have  made  me  blind. 
I  am  as  woful  as  Virginius  was,  50 

And  have  a  thousand  times  more  cause  than  he 
To  do  this  outrage,  and  it  now  is  done. 

Sat.  What,  was  she  ravish'd  ?  tell  who  did  the  deed. 

Tit.  Wiirt  please  you  eat  ?  will't  please  your  highness  feed  ? 

Tarn.  Why  hast  thou  slain  thine  only  daughter  thus  ? 

Tit.  Not  I ;   'twas  Chiron  and  Demetrius : 

They  ravish'd  her,  and  cut  away  her  tongue  ; 
And  they,  'twas  they,  that  did  her  all  this  wrong. 

Sat.  Go  fetch  them  hither  to  us  presently. 

Tit.  Why,  there  they  are  both,  baked  in  that  pie ;  60 

Whereof  their  mother  daintily  hath  fed, 
Eating  the  flesh  that  she  herself  hath  bred. 
'Tis  true,  'tis  true ;   witness  my  knife's  sharp  point. 

[Kills  T a  mora. 

Sat.  Die,  frantic  wretch,  for  this  accursed  deed ! 

[Kills  Titus, 

Luc.  Can  the  son's  eye  behold  his  father  bleed  ? 

100 


TITUS  ANDRONICUS  Act  V.  Sc.  iii. 

There  's  meed  for  nieed,  death  for  a  deadly  deed !  ^ 

[Kills  Satuniinus.     A  great  tumult.     Lucius, 
Marcus,  and  others  go  up  into  the  balcony. 
Marc.  You  sad-faced  men,  people  and  sons  of  Rome, 
By  uproars  sever'd,  as  a  flight  of  fowl 
Scatter'd  by  winds  and  high  tempestuous  gusts, 
O,  let  me  teach  you  how  to  knit  again  70 

This  scatter'd  corn  into  one  mutual  sheaf, 
These  broken  limbs  again  into  one  body ; 
Lest  Rome  herself  be  bane  unto  herself, 
And  she  vrhom  mighty  kingdoms  court'sy  to, 
Like  a  forlorn  and  desperate  castaway, 
Do  shameful  execution  on  herself. 
But  if  my  frosty  signs  and  chaps  of  age. 
Grave  witnesses  of  true  experience, 
Cannot  induce  you  to  attend  my  words,— 
[To  Lucius]    Speak,  Rome's  dear  friend  :  as  erst  our 
ancestor,  °^ 

When  with  his  solemn  tongue  he  did  discourse 
To  love-sick  Dido's  sad  attending  ear 
The  story  of  that  baleful  burning  night, 
When  subtle  Greeks  surprised  King  Priam's  Troy ; 
Tell  us  what  Sinon  hath  bewitch'd  our  ears, 
Or  who  hath  brought  the  fatal  engine  in 
That  gives  our  Troy,  our  Rome,  the  civil  wound. 
My  heart  is  not  compact  of  flint  nor  steel ; 
Nor  can  I  utter  all  our  bitter  grief. 
But  floods  of  tears  will  drown  my  oratory,  90 

And  break  my  utterance,  even  in  the  time 
When  it  should  move  you  to  attend  me  most. 
Lending  your  kind  commiseration. 
Here  is  a  captain,  let  him  tell  the  tale ; 

lOI 


Act  V.  Sc.  iii.  THE  TRAGEDY  OF 

Your  hearts  will  throb  and  weep  to  hear  him  speak. 

Luc.  Then,  noble  auditory,  be  it  known  to  you. 
That  cursed  Chiron  and  Demetrius 
Were  they  that  murdered  our  emperor's  brother  ; 
And  they  it  were  that  ravished  our  sister : 
For  their  fell  faults  our  brothers  were  beheaded,   loo 
Our  father's  tears  despised,  and  basely  cozen'd 
Of  that  true  hand  that  fought  Rome's  quarrel  out, 
And  sent  her  enemies  unto  the  grave. 
Lastly,  myself  unkindly  banished. 
The  gates  shut  on  me,  and  turn'd  weeping  out, 
To  beg  relief  among  Rome's  enemies ; 
Who  drown 'd  their  enmity  in  my  true  tears, 
And  oped  their  arms  to  embrace  me  as  a  friend. 
I  am  the  turned  forth,  be  it  kiiown  to  you. 
That  have  preserved  her  welfare  in  my  blood,         I  lo 
And  from  her  bosom  took  the  enemy's  point. 
Sheathing  the  steel  in  my  adventurous  body. 
Alas,  you  know  I  am  no  vaunter,  I ; 
j\Iy  scars  can  witness,  dumb  although  they  are, 
That  my  report  is  just  and  full  of  truth. 
But,  soft !  methinks  I  do  digress  too  much. 
Citing  my  worthless  praise  :   O,  pardon  me ; 
For  when  no  friends  are  by,  men  praise  themselves. 

Marc.  Now  is  my  turn  to  speak.    Behold  the  child : 

[Pointing  to  the  Child  in  the  arms  of  an  Attendant. 
Of  this  was  Tamora  delivered;  120 

The  issue  of  an  irreligious  Moor, 
Chief  architect  and  plotter  of  these  woes : 
The  villain  is  alive  in  Titus'  house, 
And  as  he  is,  to  witness  this  is  true. 
Now  judge  what  cause  had  Titus  to  revenge 


TITUS  ANDRONICUS  Act  V.  Sc.  iii. 

These  wrongs,  unspeakable,  past  patience, 

Or  more  than  any  hving  man  could  bear. 

Now    you    have    heard    the    truth,    what    say    you, 

Romans  ? 
Have  we  done  aught  amiss,  shovv  us  wherein. 
And,  from  the  place  where  you  behold  us  now,     130 
The  poor  remainder  of  Andronici 
Will,  hand  in  hand,  all  headlong  cast  us  down, 
And  on  the  ragged  stones  beat  forth  our  brains. 
And  make  a  mutual  closure  of  our  house. 
Speak,  Romans,  speak,  and  if  you  say  we  shall, 
Lo,  hand  in  hand,  Lucius  and  I  will  fall. 

^mil.  Come,  come,  thou  reverend  man  of  Rome, 
And  bring  our  emperor  gently  in  thy  hand, 
Lucius  our  emperor ;  for  well  I  know 
The  common  voice  do  cry  it  shall  be  so.  140 

All.  Lucius,  all  hail,  Rome's  royal  emperor! 

Marc.  Go,  go  into  old  Titus'  sorrowful  house, 

[To  Attendants. 
And  hither  hale  that  misbelieving  Moor, 
To  be  adjudged  some  direful  slaughtering  death, 
As  punishment  for  his  most  wicked  life. 

[Exeunt  Attendants. 

Lucius,  Marcus,  and  the  others  descend. 

All.  Lucius,  all  hail,  Rome's  gracious  governor! 

Luc.  Thanks,  gentle  Romans :  may  I  govern  so. 
To  heal  Rome's  harms  and  wipe  away  her  woe ! 
But,  gentle  people,  give  me  aim  awhile, 
For  nature  puts  me  to  a  heavy  task ;  150 

Stand  all  aloof ;  but,  uncle,  draw  you  near. 
To  shed  obsequious  tears  upon  this  trunk. 
103 


Act  V.  Sc.  iii.  THE  TRAGEDY  OF 

O,  take  this  warm  kiss  on  thy  pale  cold  lips, 

[Kissing  Titus. 
These  sorrowful  drops  upon  thy  blood-stain'd  face, 
The  last  true  duties  of  thy  noble  son ! 

Marc.  Tear  for  tear  and  loving  kiss  for  kiss 
Thy  brother  Marcus  tenders  on  thy  lips  : 
O,  were  the  sum  of  these  that  I  should  pay 
Countless  and  infinite,  yet  w^ould  I  pay  them ! 

Luc.  Come  hither,  boy ;  come,  come,  and  learn  of  us    i6o 
To  melt  in  showers :  thy  grandsire  loved  thee  well : 
Many  a  time  he  danced  thee  on  his  knee, 
Sung  thee  asleep,  his  loving  breast  thy  pillow ; 
Many  a  matter  hath  he  told  to  thee. 
Meet  and  agreeing  with  thine  infancy ; 
In  that  respect  then,  like  a  lo\ting  child, 
Shed  yet  some  small  drops  from  thy  tender  spring, 
Because  kind  nature  doth  require  it  so  : 
Friends  should  associate  friends  in  grief  and  woe : 
Bid  him  farewell ;  commit  him  to  the  grave  ;         170 
Do  him  that  kindness,  and  take  leave  of  him. 

Boy.  O  grandsire,  grandsire!  even  with  all  my  heart 
Would  I  were  dead,  so  you  did  live  again ! 
O  Lord,  I  cannot  speak  to  him  for  weeping ; 
My  tears  will  choke  me,  if  I  ope  my  mouth. 

Re-enter  Attendants  zvith  Aaron. 

A  Rojnan.  You  sad  Andronici,  have  done  with  woes : 
Give  sentence  on  this  execrable  wretch, 
That  hath  been  breeder  of  these  dire  events. 

Luc.  Set  him  breast-deep  in  earth,  and  famish  him ; 

There  let  him  stand  and  rave  and  cry  for  food:     180 
If  any  one  relieves  or  pities  him, 
104 


TITUS  ANDRONICUS  Act  V.  Sc.  iii. 

For  the  offence  he  dies.    This  is  our  doom : 
Some  stay  to  see  him  fasten'd  in  the  earth. 

Aar.  O,  why  should  wrath  be  mute,  and  fury  dumlj  ? 
I  am  no  baby,  I,  that  with  base  prayers 
I  should  repent  the  evils  I  have  done : 
Ten  thousand  w^orse  than  ever  yet  I  did 
Would  I  perform,  if  1  might  have  my  will : 
If  one  good  deed  in  all  my  life  I  did, 
I  do  repent  it  from  my  very  soul.  190 

Luc.   Some  loving  friends  convey  the  emperor  hence, 
And  give  him  burial  in  his  father's  grave : 
My  father  and  Lavinia  shall  forthwith 
Be  closed  in  our  household's  monument. 
As  for  that  heinous  tiger,  Tamora, 
No  funeral  rite,  nor  man  in  mourning  weeds, 
No  mournful  bell  shall  ring  her  burial ; 
But  throw  her  forth  to  beasts  and  birds  of  prey : 
Her  life  was  beastly  and  devoid  of  pity. 
And,  being  so,  shall  have  like  want  of  pity.  200 

See  justice  done  on  Aaron,  that  damn'd  ^loor, 
By  whom  our  heavy  haps  had  their  beginning : 
Then,  afterwards,  to  order  well  the  state, 
That  like  events  may  ne'er  it  ruinate.  [Exeunt. 


lOS 


THE  TRAGEDY  OF 


Glossary. 


Abused,  deceived;  II.  iii.  87. 

Ac  cited,  cited,  summoned;  I.  i. 
27. 

Acheron,  the  river  of  the  in- 
fernal regions  (Quartos,  Fo- 
lio I,  "Acaron")  ;  IV.  iii.  44. 

Achieve,  obtain;  II.  i.  80. 

ActcBon,  the  Theban  prince 
transformed  by  Diana  into  a 
stag;  II.  iii.  63. 

Advice ;  "  upon  a.,"  on  reflec- 
tion,  on   consideration ;    I.    i. 

379- 
;     "good     a.,"     deliberate 

consideration    (Collier    conj. 

"device")  ;  IV.  i.  92. 
Advised;   "  well   a.."   not   mad, 

in    his    right    senses;    IV.    ii. 

10. 
Advise    thee,    consider,    delibe- 
rate; IV.  ii.  129. 
Affect,  desire;  II.  i.  105. 
Affected,  loved;  II.  i.  28. 
Affy,  confide  ;  I.  i.  47. 
Afoot;     "  well     a.,"     in     good 

health;  IV.  ii.  29. 
After,  afterwards;   II.   iii.    123. 
Age,  seniority;  I.  i.  8. 
Aim;     "give     me     a.,"     "give 

room      and      scope      to      my 

thoughts  "  :  V.  iii.  149. 
Alcides,  Hercules;  IV.  ii.  95. 
Anchorage,  anchor;  I.  i.  72- 
Annoy,  grief,   suffering;   IV.   i. 

49. 


Appointed,     furnished, 

equipped;  IV.  ii.  16. 
Approve,  prove ;  II.  i.  35. 
Approved,  tried;  V.  i.  i. 
As,  so  that ;  II.  iii.  103. 
Associate,  join;  V.  iii.  169. 
At,  on;  IV.  iii.  9. 
Author,  cause;  I.  i.  435. 

Baleful;  "  b.  mistletoe,"  with 
reference  to  the  supposed 
poisonous  berries  of  the 
plant ;  II.  iii.  95. 

Bane,  mischief;  V.  iii.  72>- 

Bauble;  V.  i.  79.  (C/>.  illustra- 
tion.) 

Bay ;  "  at  a  b.,"  in  my  power  (a 
term  taken  from  hunting)  ; 
IV.  ii.  42. 

,  barking;   II.  ii.  3. 

Beholding,  beholden;  I.  i.  396. 

Belike,  I  suppose  ;  IV.  ii.  50. 

Bewray,  betray,  reveal ;   II.  iv. 

3. 
Blowse,     "  a     ruddy     fat-faced 

wench  "  ;  IV.  ii.  72. 
Bon  jour,   good   morning ;    I.    i. 

494. 
Boots,  avails ;  V.  iii.  18. 
Brabble,  quarrel ;  II.  i.  62. 
Bravely,    finely,    properly;    IV. 

iii.  112. 
Braves,  defiance,  threatenings ; 

II.  i.  30. 
,  defies;  II.  iii.  126, 


106 


TITUS  ANDRONICUS 


Glossary 


la)  From  MS.  6829,  National  Library,  Paris. 

(b)  and  {c)  From  ivory  carvings  in  the  Masxell  collection  and  in  the  Louvre. 


Break  the  parle,  open  the  par- 
ley; V.  iii.  19. 

Brethren  (trisyllabic)  ;  i.  i. 
348. 

Broach,  spit ;  IV.  ii.  85. 

Bus::;,  whisper ;   IV.  iv.  7. 

Candidatus,     candidate;      I.     i. 

185. 
Careful,  full  of  care ;  IV.  iii.  30. 
Castle,     (?)      a     close     helmet 

(Theobald        ''  casque  "  ; 

Walker,     "crest");     III.     i. 

170. 
Challenged,  accused ;   I.  i.  340. 
Chaps,  wrinkles ;  V.  iii.  77. 
Charm,  affect  by  magic  power ; 

II.  i.  23. 
Charming,  having  the  power  of 

fascination ;  II.  i.  16. 
Chase,  hunting-ground;   II.  iii. 

255- 
Cheer,  countenance  ;  I.  i.  264. 
Chequer'd,    variegated;    II.    iii. 

15. 


Children    (trisyllabic)  ;    II.    iii. 

115- 
Clean,  entirely ;  I.  i.  129. 
Close,  secret;  IV.  ii.  118. 
Closing  with,  humouring ;  V.  ii. 

70. 
Closure,  end ;  V.  iii.  134. 
Clubs,   Clubs;    "  in   any   public 

affray   the    cry   was   '  Clubs ! 

Clubs ! '  by  way  of  calling  for 

persons    with    clubs    to    part 

the    combatants  "     (Nares)  ; 

II.  i.  37. 
Cocytus,  the  infernal  river ;  II. 

iii,  236. 
Codding,  lustful ;  V.  i.  99. 
CoiHn,  the  crust  of  a  pie ;  V.  ii. 

189. 
Coil,    confusion,    ado;     III.    i. 

225. 
Common,  general ;  I.  i.  21. 
Compact,  made  of,  composed; 

V.  iii.  88. 
Compassion,         compassionate, 

pity;  IV.  i.  124. 


107 


Glossary 


THE  TRAGEDY  OF 


Complot,  plot ;  II.  iii.  265. 
Complots,  plots ;  V.  i.  65. 
Conceit,  device,  invention ;   IV. 

ii.  30. 
Conduct,  guidance ;   IV.  iv.  65. 
Confederate,  in  league,   allied ; 

V.  i.  108. 
Consecrate,    consecrated ;    I.    i. 

14;  II.  i.  121. 
Continence,    moderation    (Col- 
lier  MS.,  "conscience")  ;    I. 

i.  15- 
ControU'd,  hindered ;  I.  i.  420. 
Convenient,  proper,   becoming; 

V.  ii.  90. 
Cornelia,    the    mother    of    the 

Gracchi ;  IV.  i.  12. 
Couch,  lie  hidden;  V.  ii.  38. 
Cousin,    niece    (used    for    any 

kinsman  or  kinswoman)  ;  II. 

iv.  12. 
Cos:en'd,  cheated;  V.  iii.  loi. 
Cut,  cut  off;  V.  i.  93. 
Cyclops,  the  giant   servants  of 

Vulcan  ;  IV.  iii.  46. 

Dancing-rapier,  a  sword  worn 
only  for  ornament  at  danc- 
ing; II.  i.  39.  {Cp.  illustra- 
tion.) 

Days;  "  no  longer  d.,"  no  more 
time ;  IV.  ii.   165. 

Deadly-standing,  menacing 
death  ;   II.  iii.  s^. 

Dear,  grievous  (Hanmer, 
"dire")  ;    III.   i.   257. 

,  dearly;   IV.  i.  23. 

Deciphered,  detected;  IV.  ii.  8. 

Decreed,  decided,  determined ; 
II.  iii.  274. 

Decrees,  resolutions ;  V.  ii. 
II. 


Despite ;  "  in  my  d.,"  in  de- 
fiance of  me ;  I.  i.  361. 

Detect,  expose ;   II.  iv.  27. 

Dian,  Diana;  II.  iii.  61. 

Discover,  reveal ;  V.  i.  85. 

Dispose,  dispose  of;  IV.  ii.  17;. 

Distract,  distracted ;  IV.  iii.  26. 

Dominator,  ruler;   TI.  iii.  31. 

Doubted,  suspected ;  II.  iii.  60. 

Dreadful,  full  of  dread ;  II.  i. 
128. 

Drive  upon,  rush  upon,  attack  ; 
II.  iii.  64. 

Dumps,  melancholy;  I.  i.  391. 


From  an  ornament  on  a  pistol  of  Shake- 
speare's time,  in  the  Meyrick  collection. 

Ecstasies,  madness;  IV.  iv.  21. 

Ecstasy,  excitement ;  IV.  i.  125. 

Egal,  equal ;  IV.  iv.  4. 

Embracement,  embrace ;  V.  ii. 
68. 

Enibrewed,  bathed  in  blood; 
II.  iii.  222. 

Emperial's,  a  blunder  for  em- 
peror's; IV.  iii.  94. 

Empery,  empire,  dominion;  I. 
i.  19. 


108 


TITUS  ANDRONICUS 


Glossary 


Empress  (trisyllabic;  Quarto  i 
Folios  I.  2,  "  Empresse " 
Quarto  2,  "  Emperesse  "  ; 
Folios  3,  4.  '^  Empcress")  : 
I.  i.  320. 

Enacts,  working;  I\'.  ii.  118. 

Enceladus,  a  giant  of  ancient 
fable;   IV.   ii.  93. 

Enforced,  forced ;  V.  iii.  38. 

Engine,  instrument;   III.  i.  82. 

Entreats,  entreaties;  I.  i.  449. 

Escape,  escapade,  transgres- 
sion;  IV.   ii.    113. 

Exclaims,  outcries,  lamenta- 
tions (  K  e  i  g  h  1 1  e  y,  "  ex- 
claim"; Anon,  conj.,  "ex- 
tremes") ;    IV.   i.  86. 

Extent,  maintenance,  applica- 
tion ;  IV.  iv.  3. 

Fact,  evil  deed :  IV.  i.  39. 
Fat,  fatten  ;   III.  i.  204. 
Fear,  fear  for ;  II.  iii.  305. 
Feed,  food ;  IV.  iv.  93. 
Fell,  fallen;  II.  iv.  50. 
Fere,  spouse ;  IV.  i.  89. 
Fire   (dissyllabic)  ;   I.  i.   127. 
Flood,  sea ;  IV.  ii.  103. 
Fond,  foolish  ;  II.  iii.  172. 
For,  as  for  ;  IV.  iii.  39. 

,  through  ;  IV.  i.  21. 

Forfend,  forbid;  I.  i.  434. 
Forth,  out  of;  III.  i.  84. 
Found,  found  out,   discovered ; 

IV.  ii.  26. 
Framed,      formed,      fashioned ; 

IV.  iii.  46. 
Fraught,  freight;  I.  i.  71. 
Funeral,  burial ;  IV.  ii.  163. 
Funerals,  obsequies;  I.  i.  381. 

Gad,  sharp  point;  IV.  i.  103. 


Gear,  business ;  IV.  iii.  52. 
Gentleness,  kindness;   I.  i.  237. 
Glad,  gladden ;  I.  i.  166. 
Glistering,   glittering;    II.    i.    7. 
Glose,  make  mere  words;   IV. 

iv.  35. 
God-den,  good  evening;  IV.  iv. 

43. 
Good;  "  were  as  g.,"  might  just 

as  well ;  IV.  iii.  57. 
Gramercy,   many   thanks ;    I.   i. 

495- 
Gratulate,   make   glad,   gratify; 

I.  i.  221. 
Grey;      "morn      grey  "=  blue 

(Hanmer,  "gay");  II.  ii.  i. 
Griefs,  grievances ;  I.  i.  443. 

Hale,  drag;  V.  ii.  51. 

Hap,  chance;  V,  ii.  loi. 

Happily,  perchance,  perhaps; 
IV.  iii.  8. 

Happy,  opportune;  II.  iii.  23. 

Head ;  "  fought  at  head  "  ;  "  an 
allusion  to  bulldogs,  whose 
generosity  and  courage  are 
always  shown  by  meeting  the 
bull  in  front  and  seizing  his 
nose  "   (Johnson)  ;  V.  i.  102. 

Heaviness,  sadness,  sorrow; 
III.  ii.  49. 

Heavy,  sad;  III.  i.  277. 

,  sad ;  IV.  iii.  25. 

Hecuba,  the  wife  of  Priam, 
King  of  Troy ;  IV.  i.  20. 

High-witted,  sly,  cunning ;  IV. 
iv.  35. 

Himself;  "  not  with  h.,"  i.e.  be- 
side himself;  I.  i.  368. 

His,  its;  III.  i.  97. 

Holp'st,  didst  help;  IV.  iv.  59. 

Home,  to  the  quick;  II.  i.  118. 


109 


Glossary 


THE  TRAGEDY  OF 


Honesty,  chastity ;  III.  iii.  135. 

Honey-stalks,  i.e.  "Clover 
flowers,  which  contain  a 
sweet  juice.  It  is  common 
for  cattle  to  overcharge 
themselves  with  clover,  and 
die"    (Johnson);   IV.  iv.  91. 

Horse,  horses;  II.  ii.  18. 

Hyperion,  the  Sun  god;  V.  ii. 
56. 

Ignomy,  ignominy,  shame ;  IV. 

ii.  115. 
Imperious,  imperial   (Quarto  2, 

Folios,    "  imperiall")  ;     I.    i. 

250;  IV.  iv.  81. 
Incorporate,  incorporated ;  I.  i. 

462. 
Increase,  produce ;  V.  ii.  192. 
Indifferently,  impartially ;    I.   i. 

430. 
Ingrateful,  ungrateful ;  V.  i.  12. 
Inherit,  possess ;  II.  iii.  3. 
Insult  on,  exult,  triumph ;   III. 

ii.  71. 
Intercepted,   restrained ;    II.   iii. 

80. 

Jet  upon,  i.e.  "treat  with  in- 
solence "  (Quartos,  "  iet "  ; 
Folios.  "  set " ;  Malone, 
"jut");   II.  i.  64. 

Joy,  enjoy;  II.  iii.  83. 

Just,  just  so,  exactly;  IV.  ii.  24. 

Kind,  nature;  II.  i.  116. 

Laertes'  son,  Ulysses ;  I.  i.  380. 

Lamenting  doings,  lamenta- 
tions [Anon.  MS.  conj.  apud 
Theobald,  "  dronings "  for 
" doings"\\  III.  ii.  62. 


Lasting,  everlasting;  II.  iii.  275. 

Lave,  wash,  bathe ;  IV.  ii.  103. 

Learn,  teach ;  II.  iii.  143. 

Leave,  cease ;   I.  i.  424. 

Leer,  complexion;   IV.   ii.    119. 

Leisure;  "by  1.,"  in  no  hurry; 
I.  i.  301. 

Like,  equal ;  V.  iii.  200. 

Limbo,  the  borders  of  hell,  or 
hell  itself ;  the  Limbus  pa- 
trum,  as  it  was  called,  is  a 
place  that  the  schoolmen  sup- 
posed to  be  in  the  neighbour- 
hood of  hell,  where  the  souls 
of  the  patriarchs  were  de- 
tained, and  those  good  men 
who  died  before  our  Sa- 
viour's resurrection.  Milton 
gives  the  name  of  Limbo  to 
his    "  Paradise     of    Fools " ; 

III.  i.  149. 

List,  pleases;  IV.  i.  100. 
Lively,  living;  III.  i.  105. 
Loaden,  laden ;   V.   ii.  53. 
Loose,  loosen  my  hold;  II.  iii. 

243. 
,  loosen  your  bow,  let  fly ; 

IV.  iii.  58. 
Luxurious,  lustful ;  V.  i.  88. 

Madded,  maddened;  III.  i.  104. 

Manes ;  "  ad  manes  fratrum," 
i.e.  "  to  the  shades  of  my 
brothers"  (Quartos,  Folios 
I,  2,  "  manus")  ;  I.  i.  98. 

Mangre,  in  spite  of;  IV.  ii.  no. 

Mean,  means ;  II.  iv.  40. 

Meed,  recompense ;  V,  vii.  66. 

Mesh'd,  mashed  (a  brewer's 
term)  ;  III.  ii.  38. 

Mightful,  full  of  might;  IV. 
iv.  5. 


no 


TITUS  ANDRONICUS 


Glossary 


Minion,  pert,  saucy  person ;  II. 
iii.   124. 

Mistership,  a  blunder  for  "  mis- 
tress-ship " ;  IV.  iv.  40. 

Mock,  derision,  scorn ;  IV.  iv. 
58. 

Moe,  more ;  V.  iii.  17. 

Napkin,  handkerchief;  III.  i. 
140. 

Niliis,  the  Nile;  III.  i.  71. 

Note,  notice  (Pope's  emenda- 
tion of  Quartos,  Folios,  "no- 
tice") ;  II.  iii.  85. 

O'ercome,  covered ;  II.  iii.  95. 
Of,  by ;  II.  iii.  167. 

,  from ;  III.  ii.  44. 

,  on;  IV.  iii.  59. 

Ofiicioiis,  ready,  helpful ;  V.  ii. 

2C2. 

0)1,  in  ;  II.  iii.  223. 

;  "set  fire  on,"  i.e.  set  fire 

to ;  V.  i.  133. 

Onset,  beginning ;  I.  i.  238. 

Opinion,  reputation ;  I.  i.  416. 

Over-ween ;  "  dost  o.,"  art  pre- 
sumptuous ;  II.  i.  29. 

Pack,  plot;  IV.  ii.  155. 

Painted  hope  (v.  Note)  ;  II. 
iii.  126. 

Palliament,  robe;  I.  i.  182. 

Parcel,  part;  II.  iii.  49. 

Part,  depart;  I.  i.  488. 

Passing,  surpassingly  ;  II.  iii.  84. 

Passion,  violent  sorrow ;  I.  i. 
106. 

Passionate,  express  sorrowful- 
ly; III.  ii.  6. 

Patient;  "  p.  yourself,"  i.e.  be 
patient;  I.  i.  121. 


Perforce,  of  necessity ;  II,  i. 
107. 

Per  Sfyga,  per  manes  vehor,  i.e. 
I  am  borne  through  the  Styx, 
through  the  kingdom  of  the 
dead ;  II.  i.  135. 

Philomel,  the  daughter  of  Pan- 
dion,  ravished  by  Tereus, 
who  afterwards  cut  out  her 
tongue  to  prevent  her  expos- 
ing him;  II.  iii.  43. 

Phabe,  Diana  (Quartos,  Folio 
I,  "  Thehe")  ;  I.  i.  316. 

Piece,  used  contemptuously  of 
a  person  ;  I.  i.  309. 

Pitch,  used  of  the  height  to 
which  a  falcon  soars  ;  II.  i.  14. 

Piteously,  in  a  manner  exciting 
pity  (Heath  conj.  "pitiless- 
ly"; Singer  [ed.  2],  "  pite- 
ousless";  Collier  MS.,  "  des- 
piteously")  ;  V.  i.  66. 

Plots,  spots  of  ground ;  II.  i. 
115. 

Pozver,  armed  force ;  III.  i. 
300 ;  IV.  iv.  63. 

Present,  immediate,  instant;  II. 
iii.  173. 

Presently,  immediaf^ ;  II.  iii. 
62;  IV.  ii.  166. 

Price;  "  played  your  p.,"  a 
technical  term  in  the  ancient 
fencing-school ;  I.  i.  399. 

Progne,  wife  of  Tereus,  to 
whom,  in  revenge  for  her 
sister  Philomela,  she  slaugh- 
tered and  served  up  his  son 
Itys  to  eat ;  V.  ii.  196. 

Propose,  be  ready  to  meet ;  II. 
i.  80. 

Put  it  lip,  put  up  with  it;  I.  i. 
433. 


Ill 


Glossary 


THE  TRAGEDY  OF 


Put  lip,  i.e.  sheathe  your 
swords;  II.  i.  53. 

Quit,  requite,  revenge ;  I.  i.  141. 
Quotes,     observes,     examines ; 
IV.  i.  50. 

Rapier,  small  sword ;  IV.  ii.  85. 

Rapine,  rape;  V.  ii.  59. 

Re-ediHed,  restored;  I.  i.  351. 

Remembered;  "be  you  v.,"  re- 
member ;  IV.  iii.  5. 

Reprehending,  reproving,  repri- 
manding; III.  ii.  69. 

Requite,  revenge ;  III.  i.  297. 

Reserved,  preserved,  kept  safe ; 
I.  i.  165. 

Resolve,  tell ;  V.  iii.  35. 

Rolled,  coiled  (Collier  MS., 
"coiled")  ;  II.  iii.  13. 

Rue,  pity;  I.  i.  105. 

RuiHe,  be  turbulent  and  disor- 
derly; I.  i.  313. 

Sacred  (used  ironically,  with 
perhaps  a  quibble  on  the 
Latin  use  =  accursed)  ;  II.  i. 
120. 

Sanguine,  blood-coloured;  IV. 
ii.  97. 

Saturn,  the  planet  of  hate  and 
gloom ;  II.  iii.  31. 

Scath,  injury;  V.  i.  7. 

Secure  of,  safe  from;   II.  i.  3. 

Self-blood,  selfsame  blood ;  IV. 
ii.  123. 

Semiramis,  the  queen  of  As- 
syria, proverbial  for  her  vo- 
luptuousness and  cruelty;  II. 
iii.  118. 

Sensibly ;  "  endowed  with  the 
same  feelings  as  you " ;  IV. 
ii.  122. 


Sequence ;  "in  s.,"  one  after 
the  other;  IV.  i.  2)7- 

Sequester d,  separated  (Quar- 
tos, Folios,  "  scquestred")  ; 
II.  iii.  75. 

Servile,  slavish  (Quarto  2,  Fo- 
lios, "idle")  ;  II.  i.  18. 

Shall,  will ;   IV.   iv.    107. 

Shape,  form ;    IV.   iv.  57. 

Shive,  slice ;  II.  i.  87. 

Sibyl,  one  of  the  Roman 
prophetesses ;   IV.  i.   105. 

Single,  isolate ;  "  s.  you,"  bring 
unattended;  II.  i.  117. 

Sin  on,  the  Greek  who  per- 
suaded the  Trojans  to  carry 
the  wooden  horse  into  Troy; 
V.  iii.  85. 

Sit  fas  aut  nefas,  be  it  right  or 
wrong  (a  popular  Latin 
phrase)  ;   II.  i.   133. 

Sith,  since ;  I.  i.  271  ;  IV.  iii.  49. 

Slip,  scion ;  V.  i.  9. 

Smooth,  flatter ;  IV.  iv.  96. 

Solemn,  ceremonious ;  II.  i. 
112. 

Solon's  happiness,  alluding  to 
Solon's  saying  that  no  man 
can  be  pronounced  happy  be- 
fore his  death ;  I.  i.  177. 

Some   deal,    somewhat;    III.    i. 

245. 
Somewhat,  something;  IV.  i.  9. 
Somewhither,     somewhere,     to 

some  place  or  other ;   IV.   i. 

II. 
Speak  fair,  humour ;  V.  ii.  140. 
Speed,    succeed     (Delius    conj. 

"speak")  ;  I.  i.  372. 
Spleenful,    hot,    eager ;    II.    iii. 

191. 
Spurn,  hurt,  stroke;  III.  i.  loi. 


112 


TITUS  ANDRONICUS 


Glossary 


Square,  quarrel ;  II.  i.  lOO. 

,  shape;  III.  ii.  31. 

Stale,  laughing-stock  ;  I.  i.  304. 

Stand  on,  insist  on ;  IV.  iv.  105. 

Starved,  benumbed  with  cold ; 
III.  i.  252. 

Stay'd,  detained;   II.  iii.   i8r. 

Still,  always,  continually;  III. 
ii.  30. 

,  constant;  III.  ii.  45. 

Stint,  stop,  silence;  IV.  iv.  86. 

Stood  upon,  set  a  high  value 
upon ;  II.  iii.  124. 

Straight,  straightway,  imm»di- 
ately;  I.  i.  127. 

Stupriim,  violation;  IV.  i.  78. 

Subscribe,  submit ;   IV.  ii.   130. 

Succeed,  succeeded ;  I.  i.  40. 

Successantly,  (?)  following  af- 
ter another,  or,  perhaps,  suc- 
cessfully (Rowe,  "success- 
fully " ;  Capell,  "  incessant- 
ly"; Collier  conj.  "thou  in- 
stantly")] Cartwright  conj. 
"you     instantly");     IV.     iv. 

113- 

Successive ;  "my  s.  title,"  "my 
title  to  the  succession " ;  I. 
i.  4. 

Suppose,  supposition ;  I.  i.  440. 

Surance,  assurance;  V.  ii.  46. 

Suum  cuique,  to  every  man  his 
due;  I.  i.  280. 

Swarth,  swarthy,  black  (Quar- 
to I,  "swartie";  Capell, 
"  swart y")  ;  II.  iii.  72. 

Sweet  water,  perfumed  water ; 
II.  Iv.  6. 

Swelling,  full  to  bursting;  V. 
iii.  13. 

Swounded,  swooned,  fainted ; 
V.  I.  119. 


Take  up,  make  up ;  IV.  Iii.  92. 

Tedious,   laborious ;    II.   iv.  39. 

Temper,  shape,  mould ;  IV.  iv. 
109. 

,  mix ;  V.  ii.  200. 

Tendering,  caring  for ;  I.  I.  476. 

Tent,  I.  i.  138.  (The  annexed 
examples  of  Roman  tents  of 
the  time  of  Julius  Caesar  are 
from  ancient  bas-reliefs  at 
Rome.) 


That,  that  which ;  I.  i.  408. 

Threat,  threaten ;  II.  I.  40. 

Threats,  threatens;   IV.  iv.  67. 

Ticed,  enticed ;  II.  Hi.  92. 

Tim'eless,  untimely;  II.  iii.  265. 

Titan,  the  sun-god ;  I.  i.  226. 

To,  Into ;  I.  I.  421. 

Tofore,  before ;  II.  I.  294. 

Train'd,  enticed ;  V.  I.  104. 

Tribunal  plcbs,  a  blunder  for 
"  tribunus  plebis  "  =  the  tri- 
bune of  the  people ;  IV.  iii. 
92. 

Trump,  trumpet;  I.  I.  275. 

Tully's  Orator,  i.e.  Cicero's  De 
Oratore ;   IV.  i.   14. 

Turn,  return;  V.  ii.  141. 

Typhon,  i.e.  Typhceus,  one  of 
the  giants  of  ancient  fables; 
IV.  ii.  94. 


"3 


Glossary 


THE  TRAGEDY  OF 


Uncouple,  loosen  the  hounds ; 
II.  ii.  3. 

Uncouth,  strange,  perplexing; 
II.   iii.   211. 

Undertake,  answer  for.  guar- 
antee ;  I.  i.  436. 

Unfuniisli'd,   deprived;    II.    iii. 

56-     ...       . 
Unjusticc,     injustice;     IV.     iv. 

18, 

Unkind,  unnatural ;  V.  iii.  48. 

Unreciiring,  past  cure,  incur- 
able ;  III.  i.  90. 

Unroll,  uncoil;  III.  iii.  35. 

Up  and  down,  exactly,  at  all 
points;  V.  ii.  107. 

Uprise,  rising;  III.  i.  159. 

Urchins,  hedgehogs;  II.  iii.  loi. 

Virgo,  the  constellation  of 
that  name  (in  the  old  myth 
it  represents  Astraea,  after 
she  left  the  Earth)  ;  IV.  iii. 

Voice,  vote ;  I.  i.  21. 

Vouch,  make  good;  I.  i.  360. 


Wags,  moves ;  V.  ii.  87. 
Wall-eyed,  fierce-eyed ;  V.  i.  44. 
Ware,  wore ;  I.  i.  6. 
Weeds,  garments ;  I.  i.  70. 
Welkin,  sky;  III.  i.  212. 
Well  said,  well  done  ;  IV.  iii.  63. 
JVhat,  why;  I.  i.   189. 
Whenas,  when ;  IV.  iv.  92. 
White  -  limed,    white  -  washed  ; 

IV.  ii.  q8. 
Who,  whom;  II.  iii.  55. 
Wind,  scent;  IV.  i.  97. 
;    "have   the    w.    of   you," 

keep  an  eye  upon  you ;    IV. 

ii.  133- 
Wit,    mental    power    (Warbur- 

ton,  "will")  ;  II.  i.  10. 
With,  by;   II.  iii.  78. 
Witty,  possessed  of  wit ;  IV.  ii. 

29. 
Wot,  know  ;  II.  i.  48. 
Wreak,  vengeance ;  IV.  iii.  32. 
Wreaks,   resentments;    IV.    iv. 

II. 
Wrongfully,  wrongful ;  IV.  iv. 

76. 


114 


TITUS  ANDRONICUS 


Critical  Notes. 

BY   ISRAEL   GOLLANCZ. 

I.  i.  5-6.  'I  am  his  Urst-born  son,  that  was  last  That  ware'',  so 
Quartos ;  Folios  i,  2,  3  read  '  I  was  the  first-horn  son,  that  was  the 
last  That  wore';  Folio  4,  '/  was  the  Urst-horn  Son  of  him  that 
last  Wore ' ;  Pope,  '/  am  the  Urst-horn  son  of  him  that  last  Wore  ' ; 
Collier,  '/  am  his  .  .  .  That  wore';  Collier  MS.,  'I  am  the  first 
borne  Sonne,  of  him  the  last  That  wore.' 

I.  i.  62,  'gates';  Capell  reads  'gates,  tribunes';  Collier  MS., 
'  brazen  gates.' 

I.  i.  138.  'his  tent';  Theobald  reads  'her  tent'  (alluding  to 
Hecuba  beguiling  Polymnestor  into  the  tent  where  she  and  the 
other  Trojan  captives  were). 

I.  i.  154.  'drugs';  Quarto  i,  '  drugges';  Quarto  2,  '  grudgges  ' ; 
Folios,  '  grudges.' 

I.  i.  485.  '  stand  up ' ;  perhaps  these  words  were,  as  Pope  sug- 
gested, merely  a  stage-direction. 

II.  i.  82,  83;  cf.  I  Henry  VI.,  V.  iii.  77^  78;  Richard  III.,  I.  ii. 
228,  229. 

II.  ii.  10.  'Horns  zvinded  in  a  peal'  Cp.  the  subjoined  old 
French  hunting  fanfare  (here  reproduced  from  Naylor's  'Shake- 
speare and  Music'). 


Fair  Bona, 

AtUerttt9 

Fa~~rn 

rrff  Jin^'UJ 

p  J^J^; 

EJi"^ 

\J.>  \J.!^  ^ 

=^ 

t  n 


r  r  T 


II.  iii.  20.  'yellowing';  so  Quartos;  F;^os~Tead  'yelping'; 
Pope,  '  yelling.' 

II.  iii.  93.  '  barren  detested  ' ;  Rowe  reads  '  barren  and  detested  ' ; 
Capell,  '  bare,  detested.' 

II.  iii.  126.  'painted  hope  braves  your  mightiness' ;  so  Quartos, 

115 


Notes  THE  TRAGEDY  OF 

Folio  i;  Folios  2,  3,  4.  'painted  hope,  she  .  .  .' ;  Warburton, 
'painted  cope  she  .  .  .' ;  Capell,  'paint  nozv  braves  your  mighti- 
ness'', Steevens  conj,  'painted,  braves  your    .    .    /;  etc.,  etc. 

II.  iii.  132.  '  outlive,  us ' ;  Theobald's  pointing ;  Quartos,  Folios, 
'outline  us';  Dyce  (ed.  2),  'outlive  ye.' 

II.  iii.  152.  'paws';  Collier  MS.,  'claws.' 

II.  iv.  5.  'scrowl';  Quartos,  'scrowle';  Folios  i,  2,  'scowle'; 
Folios  3,  4,  'scowl' ;  Delius,  '  scrazvl.' 

II.  iv.  9.  '  case' ;  Pope's  emendation  of  Quartos;  Folios,  'cause.' 

II.  iv.  49.  'Which  that  sweet  tongue  hath  made';  so  Quartos. 
Folios;  Hanmer,  'Which  that  sweet  tongue  of  thine  hath  often 
made' ;  Collier  MS.,  '  Which  that  sweet  tongue  hath  made  ttt  min- 
strelsy ' ;  etc. 

III.  i.  12.  '  For  these,  tribunes ' ;  so  Quartos,  Folio  i  ;  Folio  4. 
'For  these,  these.  Tribunes';  Malone,  'For  these,  good  tribunes'; 
Jackson  conj.  'For  these  tzvo  tribunes';  Collier  conj.  'For  these, 
O  tribunes.' 

III.  i.  17.  'urns';  Hanmer's  emendation  of  Quartos;  Folios  i. 
2,  3,  '  mines  ' ;  Folio  4,  '  ruins.' 

III.  i.  34-36.  Quarto  2  reads  '  or  if  they  did  marke,  All  bootlcsse 
unto  them';  Folios,  'oh  if  they  did  heare  They  would  not  pitty 
me';  Capell,  'or,  if  they  did  mark.  All  bootless  unto  them,  they 
would  not  pity  me,'  etc. 

III.  i.  67.  'sight';  Theobald,  '  spight.' 

III.  i.  86.  'Sweet  varied  notes,  enchanting  every  ear';  Collier 
MS.  reads  'Rich  varied  notes,  enchanting  old  and  young';  Folio 
4,  '  Szveet  various     .     .     .' ;  etc. 

III.  i.  125.  'as';  the  reading  of  Collier,  from  Collier  MS.  and 
Long  MS.;  Quartos,  Folios,  'in';  Rowe,  'like." 

III.  i.  210.  '  would  ' ;  so  Quartos  ;  Folios  read  '  wilt ' ;  Capell 
conj.  'won't.' 

III.  i.  226.  'blow';  the  reading  of  Folios  2,  3,  4;  Folio  i.  Quar- 
tos, '  How.' 

III.  i.  282-3.  '  employ'd  in  these  things,'  etc. ;  so  Folios ;  Quartos, 
'  imployde  in  these  Amies';  perhaps,  as  the  Cambridge  editors 
suggest,  the  original  MS.  had  as  follows: — 

"  And  thou,  Lavinia,  sJiall  be  iniployed. 
Bear  thou  my  hand,  sweet  zvench,  between  thy  teeth," 

the  Quarto  reading  being  due  to  a  correction  of  '  teeth  '  to  'amies  ' ; 
the  latter  being  taken  by  the  printer  as  belonging  to  the  previous 
line. 

116 


TITUS  ANDRONICUS  '  Notes 

III.  i.  292.  '  leaves ' ;  Rowe's  emendation  of  Quartos ;  Folios, 
'  loues.' 

III.  ii.  The  whole  of  this  scene  is  omitted  in  Quartos. 

III.  ii.  13.  'with  outrageous  beating';  Folio  i  reads  '^without 
ragious  heating.' 

IV.  i.  9.  'Fear  her  not';  so  Quartos;  Folios  read  '  Feare  not'; 
Rowe,  'Fear  thou  not.' 

IV.  i.  45.  'Soft!  so  busily';  Quartos;  Folios  read  'Soft,  so 
busily';  Rowe,  'Soft!  see  how  busily';  Capell,  'Soft,  soft;  how 
busily';  Knight,  'Soft!  how  busily';  Keightley,  'Soft,  soft!  so 
busily';  Collier  MS.,  'Soft!  see  how  busily.' 

IV.  i.  81-82.  '  Magni  Dominator  poli,  Tarn  lentiis  audis  scelera? 
tarn  lentus  videsf";  i.e.  Great  ruler  of  the  skies,  dost  thou  so 
tardily  hear  and  see  crimes  committed?  (Seneca's  Hippolytus,  ii. 
671);  Theobald,  '  Magne  Dominator' ;  Hanmer,  '  Magne  Reg- 
nator.' 

IV.  i.  129.  'Revenge,  ye  heavens/  Johnson  conj.;  Reuenge  the 
heauens,'  so  Quartos,  Folios.    , 

IV.  ii.  8,  76.  Omitted  in  Folios. 

IV.  ii.  20-21.  '  He  who  is  pure  in  life,  and  free  from  sin,  needs 
not  the  darts  of  the  Moor,  nor  the  bow  '  (Horace,  Odes,  I.  22). 

IV.  ii.  26.  'sound';  Theobald  conjectured  'Fond,'  i.e.  foolish; 
but  *  sound  '  is  probably  to  be  taken  ironically. 

IV.  ii.  165.  'take  no  longer  days' ;  Collier  MS.,  'make  no  longer 
delays.' 

IV.  iii.  16.  '  then,'  a  misprint  for  ''  that.' 

IV.  iii.  2.  '  let' ;  so  Quartos,  Folio  i ;  Folios  2,  3,  4,  '  now  let.' 

IV.  iii.  4.  '  Terras  Astrce  rcliquit ' ;  i.e.  Astrse  (the  goddess  of 
Justice)  left  the  earth  (Ovid  Metani.  i.  150). 

IV.  iii.  56.  '  To  Saturn,  Caius ' ;  Capell's  emendation  ;  Quartos, 
Folios  read  'To  Saturnine,  to  Caius';  Rowe  (ed.  i),  'To  Coclus 
and  to  Saturn' ;  (ed.  2),  'To  Saturn  and  to  Coelus.' 

IV.  iv.  2>7-  '  Fhy  life-blood  out ' ;  Folio  2,  '  out ' ;  Folio  3,  '  on 't ' ; 
Walker  suggested  that  a  previous  line  had  been  lost,  but  the  text 
seems  correct  =  "  and  drawn  thy  life-blood  out." 

IV.  iv,  103.  Omitted  in  Quarto  2  and  Folios ;  the  reading  of 
Quarto  i. 

V.  i.  17.  'All  the  Goths'  should  be  'The  other  Goths,'  as  the 
'  First  Goth  '  is  kept  distinct. 

V.  i.  42,  An  allusion  to  the  old  proverb,  "  A  black  man  is  a  pearl 
in  a  fair  woman's  eye"  (Malone). 

in 


Notes  THE  TRAGEDY  OF 

V.  i.  93.  'And  cut  her  hands';  so  Quartos;  Folios,  'And  cut  her 
hands  off';  Collier  MS.,  '  Cut  her  hands  off.' 

V.  i.  122.  A  proverb  found  in  Ray's  collection. 

V.  i.  132.  'break  their  necks';  Malone  conj.  'break  their  necks 
and  die';  Jackson  conj.  'stray  and  break  their  necks';  Collier 
MS.,  '  ofttimes  break  tlieir  necks' ;  etc. 

V.  ii.  80.  '  ply  ' ;  so  Quartos  ;  Folios,  '  play.' 

V.  ii.  162;  iii.  52.  Omitted  in  Folios. 

V.  iii.  y2>-  'Lest  Rome';  Capell's  reading;  Quartos,  Folios,  '  Let 
Rome';  Malone,  'Lest  Rome.' 

V.  iii.  124.  'And  as  he  is';  so  Quartos,  Folios;  Theobald  reads 
'Damn'd  as  he  is.' 


TITUS  ANDRONICUS 


Explanatory  Notes. 


The  Explanatory  Notes  in  this  edition  have  been  specially  selected  and 
adapted,  with  emendations  after  the  latest  and  best  authorities,  from  the 
most  eminent  Shakespearian  scholars  and  commentators,  including  Johnson, 
Malone,  Steevens,  Singer,  Dyce,  Hudson,  White,  Furness,  Dowden,  and 
others.  This  method,  here  introduced  for  the  first  time,  provides  the  best 
annotation  of  Shakespeare  ever  embraced  in  a  single  edition. 


ACT  FIRST. 
Scene  I. 

8.  wrong  mine  age : — Meaning  his  claims  as  his  father's  oldest 
son. 

17.  Romans : — As  a  matter  of  orthoepy,  it  is  perhaps  worthy  of 
notice  that  throughout  this  play,  and  generally  in  English  books 
printed  before  the  middle  of  the  seventeenth  century,  this  word 
is  spelled  Romanies  or  Romanes.  "  Romaine  "  could  hardly  have 
been  pronounced  roman. 

yy.  defender  of  this  Capitol: — Jupiter,  to  whom  the  Capitol 
was  sacred. 

loi.  It  was  supposed  that  the  ghosts  of  the  unburied  dead  ap- 
peared on  earth,  to  haunt  the  living  and  solicit  the  rites  of  funeral. 

168.  fame's  eternal  date : — To  outlive  an  eternal  date  is,  though 
not  philosophical,  yet  poetical  sense.  He  wishes  that  her  life 
may  be  longer  than  his,  and  her  praise  longer  than  fame. 

201.  obtain  and  ask  : — Perhaps  intended  as  an  instance  of  the 
hysteron-proteron — "  the  cart  before  the  horse  " — of  classical 
rhetoric.  But  Staunton  and  others  think  that  the  line  should 
read,  "Ask,  Titus,  and  thou  shalt  obtain  the  empery." 

240.  empress: — Here  and  elsewhere  in  this  play  this  word  is  a 
trisyllable.  Five  lines  above,  election  is  a  quadrisyllable,  accord- 
ing to  a  common  usage  of  Shakespeare's  day. 

271.  "It  was  pity,"  remarks  Steevens,  "to  part  a  couple  who 
seem  to  have  corresponded  in  disposition  so  exactly  as  Satur- 
ninus  and  Lavinia.  Saturninus,  who  has  just  promised  to  espouse 
her,  already  wishes  he  were  to  choose  anew ;  and  she  who  was 

119 


Notes  THE  TRAGEDY  OF 

engaged  to  Bassianus  (whom  she  afterwards  marries)  expresse's 
no  reluctance  when  her  father  gives  her  to  Saturninus.  Her 
subsequent  raillery  to  Tamora  [II.  iii.  66  et  scq.]  is  of  so  coarse 
a  nature  that  if  her  tongue  had  been  all  she  was  condemned  to 
lose,  perhaps  the  author  (whoever  he  was)  might  have  escaped 
censure  on  the  score  of  poetic  justice." 

280.  Cinque  is  here  used  as  a  trisyllable.  "  Cui  and  huic,"  says 
Walker,  "  were  in  the  schools  of  Shakespeare's  time  pronounced 
as  dissyllables,  as  they  are  still  perhaps  in  some  of  the  Scotch 
ones ;  and  were  supposed  to  be  admissible  in  Latin  verse  com- 
posed after  the  Augustan  models." 

290.  Titus,  who  sacrifices  himself  for  his  country,  and  his 
country  to  an  unworthy  first-born  of  a  prince,  completes  the  ex- 
hibition of  spurious  loyalty  by  supporting  the  new-elected  Satur- 
ninus in  depriving  Bassianus  of  his  betrothed  Lavinia.  There  is 
no  hint  whatever  that  Titus  is  moved  by  ambition  to  have  his 
daughter  an  empress,  he  is  simply  following  his  blind  soldierlike 
maxim  of  obedience.  He  has  no  thought  for  the  feelings  she 
might  be  supposed  to  entertain,  though  in  truth  she  does  not  be- 
tray them,  and  when  his  sons  exclaim  at  the  injustice,  Titus  dis- 
avows all  right  as  opposed  to  sacred  prerogative,  and  buries  his 
sword  in  the  bosom  of  his  own  child. 

379.  The  Greeks  upon  advice  did  bury  Ajax : — The  allusion, 
as  Theobald  remarked,  is  to  a  part  of  Sophocles'  tragedy  Ajax, 
in  which  Ulysses  ("wise  Laertes'  son")  and  Teucer  strenu- 
ously and  successfully  plead  with  Agamemnon  for  permission  to 
bury  the  body  of  Ajax. 

ACT  SECOND. 
Scene  I. 

79,  80.  Chiron  appears  to  mean  that,  had  he  a  thousand  lives, 
such  was  his  love  for  Lavinia,  he  would  venture  them  all  to 
achieve  her. 

I  Henry  VI.,  V.  iii.  78,  79 : — 
82, 83.  These    two    lines    occur,    with    very   little    variation,    in 
"  She  's  beautiful  and  therefore  to  be  woo'd; 
She  is  a  woman,  therefore  to  be  won." 
See  also  Richard  III.,  I.  ii.  228,  229: — 

"Was  ever  woman  in  this  humour  woo'd?. 

Was  ever  woman  in  this  humour  won?" 

120 


TITUS  ANDRONICUS  Notes 

85-87.  more  zvatcr  .  .  .  shivc  : — There  is  a  proverb,  "  Mickle 
water  goes  by  the  miller  when  he  sleeps";  and  another,  "It  is 
safe  taking  a  shive  of  a  cut  loaf."  So  in  Warner's  Albion's 
England :  "  A  sheeve  of  bread  as  brown  as  nut."  Both  prov- 
erbs are  found  in  TJie  Cobbler  of  Canterbury,  1590:  "Thus 
the  Prior  and  the  Smithes  wife  contented  and  enjoying  their 
harts  desire,  the  poore  Smith  loved  her  not  a  whit  the  worse, 
neither  did  he  suspect  anything,  for  the  blind  eates  many  a  flie, 
and  much  water  runnes  by  the  mill  that  the  miller  wots  not  on. 
.  .  .  By  this  the  Prior  perceived,  that  the  scull  had  cut  a 
shive  on  his  loafe." 

123.  file  our  engines  zvitJi  advice: — That  is,  facilitate  the  work- 
ings of  our  machinations  by  her  advice :  with  allusion  to  the  use 
of  the  file  for  smoothing  machinery  to  make  it  run  free. 

Scene  II. 

I  et  seq.  The  internal  evidence  that  has  weighed  against  the 
authenticity  of  the  play  rests  on  the  defects  of  its  versification, 
which  in  large  portions  and  in  the  first  Scene  especially,  is  tame, 
flat,  monotonous ;  on  the  absence  of  dramatic  spirit  and  poetic 
imagery,  a  charge  which  however  is  not  universally  applicable ; 
and  lastly,  on  the  savage  details  of  the  story.  The  monotonous 
and  tame  versification  is  quite  consistent  with  an  early,  perhaps 
the  earliest,  essay  of  Shakespeare,  and,  as  some  think,  we  may 
trace  in  the  play  the  gradations  by  which  this  embarrassed  style 
grew  into  the  true  Shakespearian  vigour.  In  the  second  and 
third  Scenes  of  this  Act  we  have  several  speeches  in  which  we 
may  recognize  the  struggling  attempt  to  that  perfect  harmonizing 
of  imagery  and  verse  of  which  A  M idsummer~N islif s  Dream  is 
the  triumph.     Compare  these  opening  lines ;  also  iii.  10  et  seq. 

9,  /  have  been  troubled,  etc. : — Rolfe  finds  this  "  like  Shake- 
speare's fondness  for  presentiments,"  and  argues  that  "the  pas- 
sage is  probably  his." 

Scene  III. 

72.  Cimmerian : — The  Moor  is  called  Cimmerian  from  the 
affinity  of  blackness  to  darkness. 

86,  noted  long: — Yet  Saturninus  and  Tamora  have  been  mar- 
ried but  one  night. 

121 


Notes  THE  TRAGEDY  OF 

89.  [Enter  Demetrius  and  Chiron.]  "  The  Greek  names  of 
Chiron  and  Demetrius,"  says  Lloyd,  "give  a  certain  Byzantine 
colour  to  the  story,  which  is  helped  by  the  tenour  of  the  court 
intrigues  and  violences.  Indeed,  it  is  difficult  not  to  think  that 
the  plot  at  large  owes  much  to  the  suggestiveness  of  the  history  or 
story  of  Belisarius — the  mighty  general  of  an  ungrateful  country 
and  emperor,  in  age  and  blindness  begging  for  his  bread.  The 
Empress  Theodosia  was  raised  by  Justinian,  if  not  from  the  po- 
sition of  a  captive,  from  one  still  lower,  and  had  vice  enough 
to  furnish  motive  for  the  invention  of  Tamora ;  and  even  the 
eunuch  Narses,  the  rival  of  Belisarius,  is  an  appearance  in  the 
imperial  court  un-Roman  enough  to  niche  opposite  to  Aaron." 

104.  Should  straight  fall  mad,  etc. : — This  is  said  in  fabulous 
physiology  of  those  that  hear  the  groan  of  the  mandrake  when 
torn  up.  The  same  thought,  and  almost  the  same  expression,  oc- 
cur in  Romeo  and  Juliet,  IV.  iii.  45  et  seq. 

126.  painted  hope: — Johnson  explains  this  as  meaning  "only 
specious  hope,  or  ground  of  confidence  more  plausible  than  solid." 

148.  a  bastard: — White  remarks  that  "  Lavinia  says  nothing 
about  Chiron's  father;  but  his  reply  would  justify  the  belief  that 
Tamora  had  played  false  with  a  true  Milesian."  "  How,"  asks 
White,  "  was  he  to  prove  himself  a  bastard,  by  being  unlike 
his  mother?  " 

227.  A  precious  ring,  etc.: — Old  naturalists  assert  that  there  is 
a  gem  called  a  carbuncle,  which  emits  not  reflected  but  native 
light.  Boyle  believed  in  the  reality  of  its  existence.  It  is  often 
alluded  to  in  ancient  fable.  Thus  in  the  Gesta  Romanorum: 
"  He  farther  beheld  and  saw  a  carbuncle  that  lighted  all  the 
house.''     And  Drayton,  in  The  Muses'  Elysium  : — 

"  That  admired,  mighty  stone, 
The  carbuncle  that's  named; 
Which  from  it  such  a  flaming  light 
And  radiancy  ejecteth. 
That  in  the  very  darkest  night 
The  eye  to  it  directeth." 

Scene  IV. 

Upon  the  horrors  set  down  at  the  beginning  of  this  Scene 
Wilkes  has  this  indignant  observation :  "  Shakespeare  may  be 
acquitted  of  the  barbarity  of  this  device,  but  he  cannot  be  excused 

122 


TITUS  ANDRONICUS  Notes 

the  error  of  adopting  it ;  an  author  who  takes  advantage  of  the 
trust  reposed  in  him  by  his  audience,  to  wound  their  best  feel- 
ings with  unnecessary  horrors,  is  nearly  as  bad  as  the  characters 
who  perpetrate  them.  A  writer  should  reach  his  climax  by 
tolerable  steps,  and  he  is  not  justified  in  exercising  his  art  so  as 
to  cause  us  to  love  a  beautiful  ideal,  merely  that  he  may  torture 
it  in  our  presence,  any  more  than  a  boy  has  a  right  to  expect  us 
to  honour  him  for  his  dexterity  in  driving  pins  through  flies." 

5.  scrowl: — "An  unintelligible  reading,"  says  Schmidt.  Some 
editors  take  scrowl  for  another  form  of  scroll.  Fabyan's  Chron- 
icle has,  "  the  scrowle  of  resygnacyon  "  ;  and  Burnet's  Records, 
"  accompts,  books,  scrolcs,  instruments,  or  other  writings." 

26.  some  Tereus  hath  dcftozvcrcd  thcc  : — Tereus,  King  of  Thrace, 
married  Progne,  to  whose  sister  Philomela  he  was  much  at- 
tached, and  of  whom  he  at  last  became  desperately  enamoured. 
He  ravished  her,  and,  to  free  himself  from  her  reproaches  and  her 
accusations,  cut  out  her  tongue.  She  finally  made  known  her 
situation  by  means  of  her  needle  (sampler  fashion)  :  she  was 
succoured  by  her  sister  Progne,  who  took  revolting  and  un- 
natural vengeance  upon  Tereus.  Progne  was  changed  into  a 
swallow,  and  Philomela  into  a  nightingale.  So  goes  the  old 
story. 

51.  Cereberus,  the  three-headed  dog  fabled  to  guard  the  portals 
of  the  infernal  regions,  is  alluded  to  in  several  of  these  plays. 
He  is  referred  to  here  as  being  lulled  to  sleep  by  the  music  of 
Orpheus,  the  Thracian  poet. 

The  events  of  this  Scene  are  thus  narrated  in  the  old  ballad  in 
Percy's  Reliques : — 

But  nowe,  behold !  what  wounded  most  my  mind, 
The  empresse's  two  sonnes  of  savage  kind 
My  daughter  ravished  without  remorse. 
And  took  away  her  honour,  quite  perforce. 

When  they  had  tasted  of  soe  sweet  a  flowre. 
Fearing  this  sweete  should  shortly  turn  to  sowre, 
They  cutt  her  tongue,  whereby  she  could  not  tell 
How  that  dishonoure  unto  her  befell. 

Then  both  her  hands  they  basely  cut  off  quite. 
Whereby  their  wickednesse  she  could  not  write, 
Nor  with  her  needle  on  her  sampler  sowe 
The  bloudye  workers  of  her  direfuU  woe. 

12,? 


Notes  THE  TRAGEDY  OF 

My  brother  Marcus  found  her  in  the  wood, 
Staining  the  grassie  ground  with  purple  bloud, 
That  trickled  from  her  stumpes  and  bloudlesse  armes ; 
Noe  tongue  at  all  she  had  to  tell  her  harmes. 

ACT  THIRD. 
Scene  I. 

[Rome.]  The  political  condition  represented  in  the  drama  has 
great  peculiarities,  and  while  inconsistent  throughout  with 
Roman  history,  is  consistent  with  itself.  We  appear  to  be  pre- 
sented with  a  view  of  a  free  commonwealth,  with  mixed  popular 
and  patrician  institutions — tribunes  and  senators,  passing  through 
the  stage  of  a  virtual  but  unrecognized  monarchy  to  an  Eastern 
despotism.  Roman  history  furnished  a  certain  parallel  to  most 
of  the  political  circumstances,  but  never  to  the  exact  relative 
distribution  of  power,  to  say  nothing  of  special  detail. 

10.  Hudson,  instead  of  tzvo  and  twenty,  adopts  (Harvard  ed.) 
Lettsom's  reading,  one-and-tzventy. 

72.  I'll  chop: — Rolfe  states  that  "  Steevens  conjectured  'or 
chop,'  because  Titus,  after  chopping  off  one  hand,  would  not  be 
able  to  chop  off  the  other!  "  Rolfe  refers  for  comparison  to  lines 
77,  78. 

231.  For  why: — Much  used  formerly  as  meaning  because,  inas- 
much as,  and  the  like. 

257.  with  this  dear  sight: — The  word  dear  has  here,  as  in 
many  other  passages  in  these  plays,  an  intensifying,  superlative 
sense  which  it  is  not  easy  to  express  or  explain,  but  which, 
though  it  may  be  difificult  of  comprehension  to  some,  is  easy  of 
apprehension  by  all.  Its  force  is  entirely  of  degree,  not  at  all  of 
kind;  and  it  is  applied  indiscriminately  to  that  which  is  good 
and  that  which  is  bad,  that  which  is  welcome  and  that  which  is 
unwelcome,  that  which  is  loved  and  that  which  is  hated.  We 
still  say,  "my  dearest  friend";  but  in  Hamlet  (I.  ii.  182)  we  find 
"  my  dearest  foe." 

Scene  H. 

9.  Who,  when  my  heart,  etc. : — The  who  here  certainly  makes 
the  passage  entirely  inconsequential.  But  Dyce  asks,  and,  in 
White's  opinion,  with  much  reason,  if  this  may  not  be  due  to  the 

124 


TITUS  ANDRONICUS  Notes 

author's  iingrammatical  use  of  the  relative.  Rowe  and  subsequent 
editors  change  zi'lw  to  and,  regardless  of  utter  dissimilarity  of 
the  words  in  form  and  sound. 

12.  Map  of  woe  is  image  or  picture  of  woe.  So  in  Richard  11. , 
V.  i.  12 :    "  Thou  map  of  honour." 

ACT   FOURTH. 
Scene  I. 

77.  [She  takes  the  staff,  etc.]    Thus  the  old  ballad: — 

But  when  I  sawe  her  in  that  woefull  case, 
With  teares  of  bloud  1  wet  mine  aged  face : 
For  my  Lavinia  I  lamented  more 
Then  for  my  two  and  twenty  sonnes  before. 

When  as  I  sawe  she  could  not  write  nor  speake, 
With  grief  mine  aged  heart  began  to  breake; 
We  spred  an  heape  of  sand  upon  the  ground, 
Whereby  those  bloudy  tyrants  out  we  found. 

For  with  a  staffe,  without  the  helpe  of  hand, 
She  writt  these  wordes  upon  the  plat  of  sand : — 
"  The  lustfull  sonnes  of  the  proud  emperesse 
Are  doers  of  this  hateful  wickednesse." 

104.  Gad  is  Anglo-Saxon  for  any  pointed  weapon,  or  the  point 
of  any  weapon ;  and  an  ox  gad  or  goad  was  originally  a  rod 
tipped  with  a  point.  The  name  has  remained,  although  a  lash 
has  taken  the  place  of  the  point. 

Scene  II. 

44.  for  to  say  amen : — White  says :  "  It  is  noteworthy  that  in 
this  play  (Act.  IV.  Sc.  ii.)  we  find  an  instance  of  the  idiom  '  for 
to,'  which  Greene  used  so  freely,  and  which  Shakespeare  and 
Marlowe  so  carefully  avoided ;  and  one  of  *  when-as  '  (Act  IV. 
Sc.  iv.)  which  occurs  often  in  the  works  of  both  Greene  and 
Marlowe,  but  never,  I  believe,  in  any  undoubted  play  of  Shake- 
speare's. It  is  also  worthy  of  observation  that  the  three  or  four 
instances  of  similarity  of  expression  between  this  play  and  other 

125 


Notes  THE  TRAGEDY  OF 

works  bearing  Shakespeare's  name  connect  it  only  with  Venus 
and  Adonis,  his  earliest  poem,  and  with  the  First  Part  of  Henry 
J^I.  and  The  Taming  of  the  Shrew — two  plays  in  which  Shake- 
speare has  but  a  part  interest ;  sharing  again  with  Greene  and 
Marlowe,  almost  without  a  doubt." 

72.  hlozvse : — If  hlowsy  mean  ruddy  and  fat-faced,  the  sub- 
stantive would  seem  not  correctly  applied  to  a  new-born  black- 
amoor child.  Perhaps  it  had  passed  into  a  familiar  term  of 
jocose  endearment  for  a  child.  Richardson  explains  a  hlowse 
as  "  one  who  has  been  well  blown  upon,  or  exposed  to  blowing 
winds." 

156.  pack  : — For  other  instances  of  the  use  of  pack  for  plot,  see 
The  Merry  Wives  of  Windsor,  IV.  ii.  118:  "A  pack,  a  con- 
spiracy against  me";  also  TJie  Comedy  of  Errors,  V.  i.  219,  220: 
"  That  goldsmith  there,  were  he  not  pack'd  with  her,  could  wit- 
ness it." 

173-181.  Lloyd  here  makes  the  following  observation  regard- 
ing the  metrical  workmanship :  "  Aaron's  address  to  his  child 
that  concludes  [this  Scene]  leaves  little  to  be  desired,  and  gener- 
ally as  the  play  advances  there-  does  seem  to  be  an  improved 
mastery  of  the  instrument  of  language.  It  is  remarkable  withal 
that  rhymes  couplet  and  alternate  are  rare  throughout  the  play; 
this  would  seem  to  indicate  that  with  Shakespeare  indulgence  in 
rhyme  was  the  result,  in  the  first  instance,  of  very  luxuriance 
of  versifying  power  that  was  not  developed  at  first,  but  grew 
with  the  general  growth  of  his  facility — was  allowed  the  rein  in 
certain  compositions  which  contain  blank  verse  as  fine  as  any  he 
ever  wrote,  and  then  was  controlled  and  subjected  in  the  general 
progress  of  his  powers  towards  perfect  development  and  unity 
of  balanced  activity." 


Scene  III. 

5.  Be  you   remember'd : — Compare   with  this  these   lines    (607, 
608)  in  The  Rape  of  Lucrece : — 

"  O,  be  remember'd.  no  outrageous  thing 
From  vassal  actors  can  be  wiped  away." 

7.  Ocean  is  here,  as  in  other  instances  in  this  play,  a  trisyllable. 

43,44.  ' /'  //  dive,'  etc.: — Observe  that  Acheron,  the  river  of  the 

infernal  regions,  is  here  represented  as  a  burning  lake — one  of  the 

126 


TITUS  ANDRONICUS  Notes 

Poet's   frequent   uses   of   license.      Compare   the    imagery   of  the 
passage  with  i  Henry  IV.,  I.  iii.  203-205 : — 

"  Or  dive  into  the  bottom  of  the  deep, 
Where  fathom-line  could  never  touch  the  ground, 
And  pluck  up  drowned  honour  by  the  locks." 

Scene  IV. 

108  et  seq.  The  following  observations  of  Lloyd  afford  light 
alike  on  what  is  past  and  what  is  to  follow :  "  After  Lucius  has 
betaken  himself  to  the  Goths,  and  Titus  is  giving  way  to  half- 
crazy  laments  and  insults  to  the  Emperor,  there  is  considerable 
melodramatic  excitements  produced  by  the  uncertainty  whether 
Tamora,  who  proposes  to  '  temper  that  old  Andronicus  with  all 
the  art  she  has,  to  pluck  proud  Lucius  from  the  warlike  Goths,' 
may  not  succeed  in  her  plan.  Even  after  Titus,  whether  in  sane 
or  madman  method,  has  cat  the  throats  of  Chiron  and  Demetrius, 
we  feel  apprehension  lest  Lucius  may  be  deceived,  and  even  his 
precautions  frustrated.  The  reader  is  relieved,  and  the  catas- 
trophe arrives  when  [V.  iii.]  Titus  having  killed  Lavinia  first, 
then  stabs  Tamora,  whom  he  had  caused  to  eat  unwittingly  of  the 
flesh  of  her  own  sons.  It  is  in  harmony  with  the  character  of 
Titus  as  delineated  all  through  the  play,  that  to  the  last  he  does 
not  appear  to  meditate  violence  against  Saturninus.  He  falls  him- 
self by  the  hand  of  the  Emperor,  who  finds  an  executioner  in 
Lucius,  exasperated  at  the  sight  of  his  father's  death." 


ACT  FIFTH. 
Scene  L 

121  et  seq.  "It  has  been  said,"  remarks  Knight,  "that  'there  is 
not  a  shade  of  difference  between  the  two  Moors,  Eleazar  and 
Aaron.'  Eleazar  is  a  character  in  Lust's  Dominion,  incorrectly 
attributed  to  Aiarlowe.  Trace  the  cool,  determined,  sarcastic, 
remorseless  villain.  Aaron,  through  these  blood-spilling  scenes, 
and  see  if  he  speaks  in  '  King  Cambyses'  vein,'  as  Eleazar  speaks 
in  the  following  lines : — 

*  Now,  Tragedy,  thou  minion  of  the  night, 
Rhamnusia's  pew-fellow,  to  thee  I  '11  sing 

127 


Notes  THE  TRAGEDY  OF 

upon  an  harp  made  of  dead  Spanish  bones — 
The  proudest  instrument  the  world  affords; 
When  thou  in  crimson  jolHty  shall  bathe 
Thy  limbs,  as  black  as  mine,  in  springs  of  blood 
Still  gushing  from  the  conduit-head  of  Spain. 
To  thee  that  never  blushest,  though  thy  cheeks 
Are  full  of  blood,  O  Saint  Revenge,  to  thee 
I  consecrate  my  murders,  all  my  stabs. 
My  bloody  labours,  tortures,  stratagems. 
The  volume  of  all  wounds  that  wound  from  me ; 
Mine  is  the  Stage,  thine  the  Tragedy.' 

It  appears  manifest  that,  although  the  author  of  Titus  Androni- 
cus  did  choose — in  common  with  che  best  and  the  most  popular 
of  those  who  wrote  for  the  early  stage,  but  contrary  to  his  after- 
practice — a  subject  w'hich  should  present  to  his  comparatively 
rude  audiences  the  excitement  of  a  succession  of  physical  hor- 
rors, he  was  so  far  under  the  control  of  his  higher  judgement, 
that,  avoiding  their  practice,  he  steadily  abstained  from  making 
his  'verses  jet  on  the  stages  in  tragical  buskins;  every  word 
filling  the  mouth  like  the  faburden  of  Bow  bell,  daring  God  out 
of  heaven  with  that  atheist  Tamburlaine,  or  blaspheming  with 
the  mad  priest  of  the  sun.'  " 

Scene   II. 

206.  The  old  ballad  thus  carries  the  narrative  to  the  end  of  this 
Scene : — 

The  Moore,  delighting  still  in  villainy 

Did  say.  to  sett  my  sonnes  from  prison  free, 

I  should  unto  the  king  my  right  hand  give. 

And  then  my  three  imprisoned  sonnes  should  live. 

The  Moore  I  caus'd  to  strike  it  ofif  with  speede. 
Whereat  I  grieved  not  to  see  it  bleed, 
But  for  my  sonnes  would  willingly  impart. 
And  for  their  ransome  send  my  bleeding  heart. 

But  as  my  life  did  linger  thus  in  paine. 
They  sent  to  me  my  bootless  hand  againe, 
And  therewithal  the  heades  of  my  three  sonnes, 
Which  filled  my  dying  heart  with  fresher  moanes. 

128 


TITUS  ANDRONICUS  Notes 

Then  past  reliefe  I  tipp  and  downe  did  goe, 
And  with  my  tears  writ  in  the  dust  my  woe : 
I  shot  my  arrowes  towards  heaven  hie, 
And  for  revenge  to  hell  did  often  crye. 

The  empresse  then,  thinking  that  I  was  mad. 
Like  furies  she  and  both  her  sonnes  were  clad 
(She  nam'd  Revenge,  and  Rape  and  Murder  they), 
To  undermine  and  heare  what  I  would  say. 

I  fed  their  foolish  veines  a  certaine  space, 
Untill  my  friendes  did  find  a  secret  place, 
Where  both  her  sonnes  unto  a  post  were  bound, 
And  just  revenge  in  cruell  sort  w^as  found. 

I  cut  their  throates,  my  daughter  held  the  pan 
Betwixt  her  stumpes.  wherein  the  bloud  it  ran : 
And  then  I  ground  their  bones  to  powder  small, 
And  made  a  paste  for  pyes  straight  therewithall. 

Scene  III. 

"  The  Poet,"  says  a  critic,  "  grinds  his  red  colour  with  stintless 
liberality,  and  might  seem  to  sit  down  to  his  task  fresh  from  the 
bloody  conflicts  of  the  bear-garden,  as  he  expected  an  audience 
whose  tastes  were  trimmed  to  such  a  school.  But  even  here  it 
may  be  we  recognize  the  hand  of  Shakespeare — the  prentice  hand. 
The  horrors  of  the  tragedy  are  scarcely  greater  than  occur  in  his 
own  masterpieces,  or  in  those  of  mighty  dramatists  his  prede- 
cessors, they  are  matched  in  Hamlet,  in  Lear,  in  (Edipiis  Tyran- 
nus ;  but  they  are  not  relieved  and  counterbalanced  by  the  other 
aids  of  tragic  art  in  its  highest  form,  that  enable  us  to  read  the 
plays  enumerated  with  equable  satisfaction  and  delight.  Shake- 
speare's early  plays  for  the  most  part  exhibit  severally  some 
single  of  his  resources  in  excess,  some  one  of  his  powers  luxu- 
riant to  rankness  at  the  expense  of,  as  if  unknown  to,  the  others. 
In  Titus  Andronicus  this  predominance  is  allowed  to  the  quality 
that  even  in  tragedy  least  admits  such  license,  barbarous  execu- 
tion and  revolting  cruelty." 

60  et  seq.  The  old  ballad  concludes : — 

Then  with  their  fleshe  I  made  two  mighty  pyes, 
And  at  a  banquet,  served  in  stately  wise, 

129 


Notes  THE  TRAGEDY  OF 

Before  the  empresse  set  this  loathsome  meat; 
So  of  her  sonnes  own  flesh  she  well  did  eat. 

Myselfe  bereav'd  my  daughter  then  of  life, 
The  empresse  then  I  slewe  with  bloudy  knife, 
And  stabb'd  the  emperotir  immediatelie. 
And  then  myself :  even  soe  did  Titus  die. 

Then  this  revenge  against  the  Moore  was  found, 
Alive  they  sett  him  halfe  into  the  ground, 
Whereas  he  stood  untill  such  time  he  starv'd. 
And  soe  God  send  all  murderers  may  be  serv'd. 

64.  [Kills  Titus.]  Ulrici  makes  this  comment,  which  sums  up 
the  chief  tragic  features  of  the  play :  "  That  the  hero  is  not  un- 
deservedly overpowered  by  his  tragic  fate,  is  evident  if,  on  the 
one  hand,  we  consider  the  cold-blooded  indifference  with  which 
he  causes  Tamora's  eldest  son  to  be  conducted  as  a  victim  to  the 
sacrifice — an  act  of  cruelty  in  which  his  own  sons  take  part ;  on 
the  other  hand,  the  passionate  heat  in  which  he  strikes  down  his 
own  child  for  a  pardonable  opposition  to  his  will,  and  finally  the 
fearful  inhuman  revenge  he  takes  upon  the  doubtless  equally  in- 
human queen.  Moreover,  poetical  justice  is  also  satisfied  by  the 
common  ruin  which  in  the  end  overtakes  all  those  that  are  guilty. 
Lastly,  it  must  not  be  overlooked  that  the  foundation  of  the 
whole  is  based  upon  those  later  days  of  the  Roman  empire, 
which,  as  is  well  known,  were  so  full  in  horrible  deeds  of  every 
description,  and  that  the  history  of  the  time  almost  outstrips  the 
boldest  imagination.  The  character  of  the  age  forms  so  deci- 
dedly the  background  of  the  whole  picture,  that  the  piece  thereby 
somewhat  resembles  the  historical  dramas,  and,  accordingly, 
ought  to  be  viewed  and  examined  by  no  other  than  the  spirit  of  the 
age.  When  this  is  done  it  will  be  found  that  the  tragic  element, 
in  this  case,  could  not  have  been  represented  otherwise;  and  it 
may  be  asked,  if  horror  does  really  exist  in  history,  why  should 
not  the  tragic  element  sometimes  also  assume  this  form  ?  " 


130 


TITUS  ANDRONICUS 


Questions  on  Titus  Andronicus. 


T.  Give  some  account  of  early  editions;  of  critical  opinion  as 
to  date  of  composition. 

2.  What  can  you  say  regarding  the  source  of  the  plot  ?  Is  the 
original  story  historical,  or  wholly  fictitious? 

3.  Was  Rome,  at  any  time  during  the  rule  of  the  emperors 
seated  there,  at  war  with  the  Goths? 

4.  What  time  is  covered  by  the  play  as  represented  on  the 
stage  ? 

ACT  FIRST. 

5.  State  the  significance  of  the  respective  appeals  of  Saturninus 
and  Bassianus  in  the  opening  speeches.  What  effect  has  the  coun- 
sel of  Marcus  Andronicus  upon  the  rival  brothers? 

6.  What  impression  is  here  given  of  the  character,  services,  and 
influence  of  Titus? 

7.  Does  the  mutual  submission  of  the  rivals  to  the  people's 
favour  bear  the  marks  of  sincerity  and  magnanimity? 

8.  Is  the  note  of  heroism  strongly  sounded  in  the  first  speech 
of  Titus,  Hail,  Rome,  etc.?  In  the  closing  lines  do  you  feel 
pathos  and  tenderness?  Are  they  dramatically  effective?  The 
first  six  lines  are  thought  to  be  of  Shakespearian  quality :  do  you 
find  them  so? 

9.  Lucius  demands  tJie  proudest  prisoner  of  the  Goths  as  a  sac- 
rifice to  the  shades  of  his  brothers :  does  this  illustrate  Roman 
custom?     Explain  lines  100,  loi. 

10.  Who  is  yielded  by  Titus  for  the  sacrifice?  Name  the 
qualities  shown  in  Tamora's  remonstrance  against  the  killing 
of  her  son.     What  is  meant  (line  130)  by  irreligious  piety"? 

11.  Does  the  speech  of  Demetrius,  Oppose  not  Scythia,  etc.,  ex- 
hibit a  spirit  much  different  from  that  of  the  proud  Romans? 

12.  How  does  Lavinia's  first  speech  commend  her? 

13.  Does  Titus  show  himself  magnanimous  in  refusing  the 
enipery,  or  is  he  determined  solely  by  the  desire  of  a  staff  of 
honour  for  his  age,  but  not  a  sceptre  to  control  the  world?     I^ 

131 


Questions  THE  TRAGEDY  OF 

his  self-denial — if  that  it  be — mistaken  in  giving  way  to  such  a 
corrupt  man  as  Saturninus?  Might  he  not  without  blame  have  ac- 
cepted the  crown? 

14.  What  is  foreshadowed  by  the  insolent  behaviour  of  Satur- 
ninus in  this  scene  with  the  tribunes? 

15.  How  does  Saturninus  (238-240)  offer  to  begin  his  ad- 
vancement of  the  name  and  family  of  Titus? 

16.  Comment  on  the  sort  of  loyalty  which  makes  Titus  com- 
pletely surrender  to  Saturninus,  even  to  supporting  him  in  de- 
priving Bassianus  of  his  betrothed  Lavinia.  In  this  last  action 
is  Titus  moved  by  ambition  to  have  his  daughter  an  empress,  or 
is  he,  soldier-like,  blindly  obedient?  Account  for  his  want  of 
moral  vision  in  this  matter,  and  for  his  ferocity  in  killing  his 
rightly  protesting  son  Mutius. 

17.  Failing  to  get  Lavinia,  whom  does  Saturninus  quickly 
choose  for  his  queen?    What  is  Tamora's  oath  to  him? 

18.  At  this  point  how  is  the  change  of  attitude  on  the  part  of 
Saturninus  towards  Titus  foreshadowed? 

19.  How  is  the  implacability  of  Titus  shown  at  the  burial  of 
Mutius?    Summarize  the  rest  of  the  Scene. 

20.  Does  Tamora  yet  begin  to  reveal  her  purpose  of  vengeance 
on  the  family  of  Titus?  Is  her  hypocrisy  transparent?  In  this 
procedure  do  you  regard  her  or  Saturninus  as  principal? 

21.  What  political  conditions  does  this  Scene  represent?  Are 
they  consistent  with  Roman  history?  Are  they  consistently  pre- 
sented here? 

22.  Do  you  observe  such  defects  of  versification — monotony, 
tameness,  etc. — in  the  first  Act  as  afford  internal  evidence  against 
the  authenticity  of  the  play?  See  lines  117-119  and  141,  142,  and 
say  whether  you  attribute  them  to  Shakespeare,  and  if  so,  why. 


ACT  SECOND. 

23.  Describe   the    self-revelation   of   Aaron   upon   his   entrance. 
What  is  its  foreshadowing  of  the  plot? 

24.  What  signifies  the  quarrel  of  Demetrius  and  Chiron  and  the 
intervention  of  Aaron? 

25.  In   what   other   play   are   there   passages    similar   to    Sc.   i., 
lines  82,83?     Mention  two  proverbs  in  lines  closely  following. 

26.  Is  the  cruel  craftiness,  the  revolting  villainy  of  Aaron  in 
his  suggestions  to  the  brothers  portrayed  with  Shakespeare's  skill, 

132 


TITUS  ANDRONICUS  Questions 

or  must  we  here  suppose  another  hand?     Lines  i-6  of  Sc.  ii.  are 
by  some  considered  worthy  of  Shakespeare :  do  you  recognize  his 
manner  here? 
2.J.  For  what  is  this  short  Scene  a  dramatic  preparation? 

28.  Lines  10-15  of  Sc.  iii.  are  much  claimed  for  Shakespeare: 
what  quahty  of  his  do  you  find  in  them? 

29.  Knight  calls  Tamora  "  the  presiding  genius  of  the  piece  " : 
is  her  supremacy  already  felt?  How  is  the  plot  advanced  by  this 
passage  between  her  and  Aaron? 

30.  What  imports  the  dialogue  following  between  Bassianus, 
Tamora,  and  Lavinia? 

31.  Do  the  wrongs  of  Tamora  mitigate  our  detestation  of  her 
in  the  atrocities  which  she  now  assists  to  perpetrate? 

32.  What  womanly  traits  come  out  most  plainly  here  in  La- 
vinia?    Repeat  some  of  her  more  striking  words. 

ZZ'  Measure  the  vindictiveness  of  Tamora  by  what  she  says  in 
lines  187-189,  and  the  diabolical  ingenuity  of  Aaron  by  what 
directly  follows.  Which  has  the  larger  resources  for  compassing 
evil? 

34.  Titus  has  already  shown  weakness  in  his  relations  with 
Saturninus :  comment  on  his  display  of  it  in  kneeling  to  the 
emperor,  who  has  wrongly  accused  his  sons. 

35.  Is  Titus  capable  of  strength  when  away  from  his  camp  and 
involved  in  civil  embroilments? 

2^6.  Is  anything  indicated  as  to  the  development  of  the  plot  by 
the  long  speech  of  Marcus  in  Sc.  iv.  ? 

ACT  THIRD. 

yj.  What  contrast  is  presented  at  the  opening  of  this  Act  be- 
tween Titus  and  Lucius? 

38.  Does  not  Titus  reach  the  extremity  of  weakness  in  con- 
tinuing to  plead  with  the  tribunes,  although  he  feels  them  to  be 
more  hard  than  stonesl 

39.  Is  the  show  of  force  on  the  part  of  Lucius  any  less  futile  at 
this  point  than  the  maunderings  of  his  father? 

40.  Describe  the  emotional  qualities  exhibited  after  the  en- 
trance of  Marcus  and  Lavinia. 

41.  Lines  82-86  and  91-97  of  Sc.  i.  are  pointed  out  as  probably 
Shakespeare's:  do  you  perceive  anything  which  distinguishes 
them  in  manner  or  quality  from  their  context? 

42.  Consider  tne   dominant  motive  in  Titus   when   he   submits 

133 


Questions  THE  TRAGEDY  OF 

to  the  loss  of  his  hand:  is  it  unmixed  paternal  solicitude?  Who 
offer  to  make  the  sacrifice  in  his  stead?  Is  the  firmness  of  Titus 
at  this  moment  heroic? 

43.  When  does  Titus  first  become  fully  aware  of  the  injuries 
done  to  him  by  Chiron  and  Demetrius? 

44.  Does  he  show  signs  of  being  aroused  to  the  real  conditions 
after  the  emperor  sends  him  the  heads  of  his  two  sons  along  with 
the  hand  which  he  had  cut  off  to  ransom  them? 

45.  What  does  Titus  bid  Lucius  do  in  preparation  for  revenge, 
and  what  does  Lucius  say  in  response? 

46.  Compare  this  mood  of  Titus  with  the  description  given  of 
him  by  his  brother  Marcus  in  the  fourth  Act  (Sc.  i..  line  129)  : 
But  yet  so  just  that  he  will  not  revenge. 

47.  Does  what  we  have  seen  of  him  warrant  this  estimate  of 
Titus? 

48.  What  is  the  purpose  of  Sc.  ii.  of  the  third  Act?  Does  it 
contribute  anything  to  the  action? 

49.  Interpret  the  language  and  action  of  Titus  and  Marcus  on 
the  killing  of  a  fly. 

50.  Why  is  the  Boy  introduced? 

ACT  FOURTH. 

51.  Explain  the  opening  passage  between  Lavinia  and  the  Boy. 

52.  What  does  Lavinia  succeed  in  conveying  by  means  of  the 
book?  By  w^hat  device  does  she  finally  reveal  the  crime  of  Chiron 
and  Demetrius  against  her? 

53.  If  she  was  thus  to  make  disclosure,  what  need  for  the 
author  to  have  her  hands  chopped  off  and  her  tongue  cut  out? 
Is  this  a  gratuitous  heaping  up  of  horror? 

54.  Titus  appeals  to  the  great  ruler  of  the  skies — Magni  Domi- 
nator  poli,  etc. :  from  what  Roman  tragedy  is  this,  with  slight  al- 
teration, taken? 

55.  What  is  suggested  by  the  dialogue  just  below,  between 
Titus  and  the  Boy? 

56.  Marcus  had  tried  to  calm  Titus  after  his  appeal  to  the 
ruler  of  the  skies :  what  do  you  say  of  the  appeal  to  the  heavens 
wherewith  Marcus  himself  closes  Sc.  i.? 

57.  What  is  foreshown  of  the  approaching  mental  state  of 
Titus  by  the  works  of  Aaron  in  Sc.  ii.,  line  3?  What  by  the  ironi- 
cal astuteness  of  the  Boy  in  his  passage  with  Chiron  and  Deme- 
trius? 

134 


TITUS  ANDRONICUS  Questions 

58.  Give  the  meaning  of  the  celebrated  lines  (20,  21)  from 
Horace,  and  the  significance  of  their  introduction  here.  How  are 
they  taken  by  Chiron,  Aaron,  and  Demetrius?  How  does  the 
brutal  cynicism  of  these  three  affect  us? 

59.  In  this  scene  with  the  Nurse  does  not  Aaron,  the  fiendish 
reveller  in  wickedness  and  cruelty,  show  something  of  human 
affection  in  protecting  his  offspring  from  the  sons  of  Tamora? 
Is  this  a  natural  touch? 

60.  Does  Aaron  in  this  scene  betray  resentment  against  nature 
for  his  blackness,  as  Richard  III.  did  for  his  deformity? 

61.  Does  the  metrical  quality  of  Aaron's  address  to  his  child, 
at  the  end  of  Sc.  ii.,  show  the  Shakespearian  ear? 

62.  In  Sc.  iii.  is  the  madness  of  Titus  real  or  feigned?  If  real, 
is  it  partial  or  complete?  What  signify  his  laments  and  his  in- 
sults to  the  emperor? 

63.  What  does  Sc.  iv.  show  as  to  the  effect  of  Titus's  affronts? 
As  to  Tamora's  influence  with  the  emperor? 

64.  How  could  Titus  treat  the  emperor  so  and  not  be  put  to 
death?  Has  news  of  the  approach  of  Lucius  with  an  army  any- 
thing to  do  with  this? 

65.  How  docs  Tamora  persuade  Saturninus  to  temporize? 
What  does  she  promise  to  undertake  with  Titus? 

66.  For  what  purpose  does  the  Clown  appear  in  Scs.  iii.  and  iv.  ? 
6j.  Lines  81-86  of  the  fourth  Scene — do  they  seem  to  you,  as 

to  some  critics  they  do,  to  be  Shakespeare's?  "There  is  not," 
says  Swinburne,  "  a  single  passage  in  Titus  Andronicus  more 
Shakespearian  than  the  magnificent  quatrain  [83-86]  of  Tamora 
upon  the  eagle  and  the  little  birds."  Does  your  studv  confirm 
this? 

ACT  FIFTH. 

68.  According  to  Lucius,  in  the  opening  speech,  how  does  the 
emperor  stand  with  his  people? 

69.  How  does  Lucius  advise  the  great  lords  to  take  advantage 
of  the  situation? 

70.  How  do  the  Goths  acclaim  and  pledge  themselves  to  Lu- 
cius? 

71.  Describe  the  taking  of  Aaron  with  the  child. 

72.  What  is  meant  in  Sc.  i.,  line  42? 

72,-  Does  Aaron   show   subtlety  and  address   in   making  parley 
with  Lucius,  or  does  he  simply  present  a  compelling  motive? 
74.  Characterize    Aaron's   cold-blooded    recital   of    crimes.     Do 

135 


Questions  THE  TRAGEDY  OF 

you  recall  any  parallel  to  his  gloating  over  those  atrocities,  both 
on  his  own  account  and  that  of  the  empress?  Must  we  not 
sympathize  in  the  judgement  of  Lucius  that  hanging  is  too  good 
for  such  a  miscreant? 

75.  What  is  the  errand  of  ^milius?     How  does  Lucius  treat  it? 

76.  Who  come  at  the  opening  of  Sc.  ii.  to  visit  Titus,  and  what 
is  their  mission?  How  does  Titus  receive  them?  His  speech, 
lines  21-27,  is  among  those  regarded  as  Shakespearian  in  manner. 
Do  you  so  regard  it? 

']'^.  Do  Tamora  and  her  sons  completely  impose  upon  Titus  in 
the  parley,  or  does  he  see  through  their  disguises?  Is  he  hood- 
winked into  sending  for  Lucius?  What  means  Tamora  (line 
139)  by  our  determined  jest?  Is  Titus  self-poised  when  he  says, 
/  kno7u  them  all,  though  they  suppose  me  mad,  etc.?  Does  he 
neatly  trap  Chiron  and  Demetrius  at  last? 

78.  When  Titus  cuts  the  throats  of  these  two,  is  it  in  keeping 
with  what  has  been  seen  of  Lavinia  that  she  should  have  nerve 
to  hold  'tzveen  her  stumps  the  basin  to  receive  their  blood? 

79.  Is  the  long  speech  of  Titus  which  ends  the  Scene  dramati- 
cally regular  inasmuch  as  it  recites  what  is  already  known  to  the 
spectator  and  announces  deeds  yet  to  be  performed? 

80.  With  what  motive  does  Titus  kill  Lavinia? 

81.  Is  Saturninus  prepared  to  punish  Chiron  and  Demetrius 
when  (Sc.  iii.  59)  he  asks  to  have  them  brought  before  him? 

82.  Docs  not  Titus,  by  killing  Tamora  instantly  upon  telling 
her  of  the  contents  of  the  pie,  balk  his  own  dearest  revenge? 
Why  is  Tamora  not  allowed  to  survive  and  suffer  for  a  while 
from  the  horrible  revelation? 

83.  This  being  the  catastrophe,  could  anything  have  been  fitly 
done  other  than  to  have  Saturninus  kill  Titus,  and  Lucius  in 
turn  kill  the  emperor?  Until  this  moment  could  it  have  been 
certain  that  the  plot  to  frustrate  Lucius  might  not  succeed? 

84.  How  do  the  political  conditions  at  the  end  of  the  play  accord 
with  those  shown  at  the  beginning?  Was  there  anything  in  the 
contemporary  politics  of  states  which  might  have  influenced  the 
writer  or  writers  of  the  drama? 

85.  Is  poetic  justice,  as  well  as  political  exigency,  served  in 
making  Lucius  emperor? 

86.  Do  lines  160-168  of  Sc.  iii.  appear  to  you,  as  to  some  com- 
mentators, to  be  in  all  probability  Shakespeare's?  What  impres- 
sion is  here  made  by  the  reappearance  of  the  Boy,  the  words 
spoken  to  him  by  Lucius,  and  the  Boy's  reply? 

136 


TITUS  ANDRONICUS  Questions 

87.  Is  the  character  of  Aaron  rightly  finished  by  causing  him  to 
persist  stubbornly  to  the  last  in  his  malignancy? 

88.  Is  anything  gained  in  dramatic  effect  by  reserving  him  for 
such  a  frightful  death? 


89.  Lloyd  finds  that  the  Greek  names  of  Chiron  and  Demetrius, 
as  well  as  other  features,  give  a  Byzantine  colour  to  the  play,  and 
he  thinks  that  the  plot  may  owe  much  to  the  story  of  Belisarius. 
Do  you  see  anything  suggestive  in  this? 

90.  Does  the  character  of  Aaron  lead  in  your  thoughts  to 
reminiscences  of  Othello  or  Shylock?  Is  Aaron  a  character  of 
iinmingled  ferocity?  Is  there  in  his  devilishness  an  element  of 
glee  which  makes  him  more  diabolical  than  lago  or  any  other 
villain  of  Shakespeare's? 

91.  Swinburne  says  that  Titus  Androniciis  has  a  "quality  of 
exceptional  monstrosity,  a  delight  in  the  parade  of  mutilation  as 
well  as  of  massacre."  Is  not  such  a  drama  too  revolting  for  the 
stage?  If  this  play  is.  as  Dowden  says,  "  pre-Shakespearian  in 
tone,"  is  it  also  throughout  sub-Shakespearian  in  quality?  Could 
it  have  been  the  product  even  of  Shakespeare's  first  attempt? 

92.  Baynes  declares  that  Titus  Andronicus  in  many  features 
reflects  the  form  of  Roman  tragedy.  But  in  the  old  Roman  trage- 
dies horrors  were  usually  related,  not  represented.  Which  is  the 
better  way  ? 

93.  Say  what  you  think  of  critics  w^ho  hold  not  only  that 
Shakespeare  did  not  write  Titus  Andronicus,  but  also  that  he 
would  not  have  written  on  such  a  disgusting  subject.  Are  there 
kindred  scenes  of  horror  in  any  of  the  undisputed  Shakespearian 
plays ;  if  so,  are  there  differences  of  treatment  whereby  their 
effects  are  modified? 

94.  Fleay  calls  this  "  a  stilted,  disagreeable  play,  with  a  few 
fair  touches."  White  thought  that  it  might  be  the  joint  work  of 
Greene,  Marlowe,  and  Shakespeare.  Hudson  would  gladly  be  rid 
of  this  "  extremely  distasteful  "  play  altogether.  Give  your  opin- 
ions on  these  points. 

95.  Hudson  speaks  of  the  power  of  an  author  "to  distinguish 
rightly  between  the  broad  and  vulgar  ways  of  the  horrible,  and 
the  high  and  subtile  courses  of  tragic  terror."  Consider  this  apt 
saying  in  connection  with  the  present  play  and  others  with  which 
it  may  be  profitably  compared. 


137 


UNIVERSITY   OF   CALIFORNIA-LOS   ANGELES 


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